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THE  LOEB  COLLECTION 
OF  ARRETINE 


POTTERY 


COPYEIGHT,  1908,  BY 
JAMES  LOEB,  NEW  YORK 


TKE  J.  PAUL  GUTTY  MUSEUM  LIBRARY 


PREFACE 


It  has  long  been  a matter  of  regret  among  students  of  classical 
antiquity  that  so  little  of  the  pottery  of  Arretium,  which  represents 
unquestionably  the  highest  achievement  of  the  Roman  ceramists,  has 
as  yet  been  published.  The  writings  of  Fabroni,  Gamurrini,  Pasqui, 
Dragendorff,  and  others  have  indeed  done  much  to  place  the  Arre- 
tine  wares  in  their  proper  relation  to  earlier  and  later  fabrics  and  to 
show  their  great  importance  for  the  history  of  Roman  art.  But  the 
treasures  of  the  Museo  Pubblico  at  Arezzo  are  still  almost  unknown 
except  to  the  fortunate  few  who  have  enjoyed  the  privilege  of  a con- 
siderable stay  in  Arezzo  itself,  and  the  smaller  collections  of  Arretine 
ware  in  other  museums  are  almost  wholly  unpublished.  Under  these 
circumstances,  the  present  catalogue  of  a fairly  representative  collec- 
tion of  moulds  and  fragments  may  not  be  without  its  justification. 
In  the  Introduction,  I have  tried  to  give  a summary  of  the  principal 
results  of  modern  discussions ; in  the  Catalogue  proper,  to  describe 
as  accurately  as  possible  all  the  pieces  of  the  Collection  ; and  in  the 
plates  to  reproduce  all  the  more  important  specimens.  I hope  the 
result  will  prove  useful  to  scholars  and  interesting  to  amateurs  ; and 
above  all  that  it  may  help  a little  in  calling  attention  to  a class  of 
monuments  which,  in  this  country  at  least,  has  up  to  the  present 
time  been  too  much  neglected. 

The  Collection  is  in  the  Fogg  Museum  of  Art,  Harvard  Uni- 
versity. 

George  H.  Chase. 

Harvard  Uniyersity. 

January,  1908. 


CONTENTS 


PAGE 

Preface  v 

Contents vi 

Abbreviations viii 

Introduction 1 

Note 36 

Catalogue 37 

Class  I. 

a.  Birth  of  Dionysus  (No.  1) 39 

b.  Dancing  maenads  (Nos.  2-13) 45 

c.  Dancing  and  drinking  satyrs  (Nos.  14-16) 49 

d.  Satyrs  gathering  grapes  and  treading  them  out  (Nos.  17-52)  . 50 

e.  Kalathiskos  dancers  (Nos.  53-61) 55 

/.  Winged  genii  (Nos.  62-70) 60 

g.  Nike  (Nos.  71-75) 63 

h.  Symposia  (Nos.  76-84) 64 

i.  Miscellaneous  subjects  (Nos.  85-124) 70 

Class  II. 

a.  Dancers  (Nos.  125-135) 81 

h.  Hunting  scenes  (Nos.  136-142) 86 

c.  Chariot  scenes  (Nos.  143-149) 89 

d.  Battle  scenes  (Nos.  150-156) 90 

e.  Centauromachy  (No.  157) 92 

/.  Miscellaneous  subjects  (Nos.  158-206) 93 

g.  Animals  (Nos.  207-216) 105 

h.  Statuettes  (Nos.  217-222) 107 

i.  Masks,  heads,  bucrania,  pairs  of  animals,  etc.  (Nos.  223-304)  111 

j.  Naturahstic  plant  forms  (Nos.  305-336) 127 

k.  Conventionalized  plant  forms  and  other  conventional  patterns 

(Nos.  337-427) 135 

l.  Small  fragments  with  inscriptions  (Nos.  428-451)  . . . 151 

[ vi  ] 


CONTENTS 


C ATALOGUE—C  ontinued 
Class  III. 

Plain  vases  and  vases  decorated  only  with  separately  modelled  reliefs 

(Nos.  452-472) 155 

Class  IV. 

Handles,  handle  ornaments,  and  separately  modelled  reliefs  (Nos. 

473-507) 159 

Class  V. 

Miscellaneous  pieces  (Nos.  508-589) 166 


[ vii  ] 


ABBREVIATIONS 


The  titles  of  books  and  periodicals  to  which  frequent  reference  is  made 
will  be  abbreviated  as  follows: 

Ann.  Annali  dell’  Instituto  di  Corrispondenza  Archeologica.  Rome,  1829-86. 

B.  J.  Bonner  Jahrbucher:  Jahrbiicher  des  Vereins  von  Altertumsfreunden  im 

Rheinlande.  Bonn,  184-2/f. 

Bull.  Bulletino  dell’  Instituto  di  Corrispondenza  Archeologica.  Rome,  1829-85. 

C. I.L.  Corpus  Inscriptionum  Latinarum  consilio  et  auctoritate  Academiae  Litte- 

rarum  Regiae  Borussicae  editum.  Berlin,  186Sff. 

Fabroni.  Fabroni  (-4.),  Storia  degli  antichi  vasi  fittili  aretini.  Arezzo,  18^1. 

Gamurrini.  Gamurrini  {G.  F.),  Le  iscrizioni  degli  antichi  vasi  fittili  aretini. 
Rome,  1859. 

Gaz.  Arch.  Gazette  Archeologique.  Paris,  1875-89. 

Not.  Scav.  Notizie  degli  Scavi  di  antichita  communicate  alia  Reale  Accademia 
dei  Lincei.  Rome,  1876ff. 

Walters.  Walters  (H.  B.),  History  of  Ancient  Pottery,  Greek,  Etruscan,  and 
Roman.  2 vols.,  London,  1905. 


[ viii  ] 


INTRODUCTION 

Arretine  Pottery  takes  its  name  from  the  ancient  city  of  Ar- 
retium,  the  modem  Arezzo,  situated  in  the  upper  vaEey  of  the  Arno, 
in  Tuscany,  some  fifty  miles  southeast  of  Florence.  Originally  one 
of  the  twelve  cities  of  the  Etrascan  league,  and  later,  after  the  ex- 
tension of  the  Roman  power,  a flourishing  Roman  town,  Arretium 
was  for  many  centimies  one  of  the  most  important  cities  of  central 
Italy. 

Of  its  history,  as  of  the  history  of  most  of  the  Etruscan  cities,  we 
catch  glimpses  now  and  then  in  the  writings  of  the  Roman  histo- 
rians, but  their  references  are  usually  nothing  more  than  brief  no- 
tices of  unsuccessful  wars  against  the  Romans  during  the  period  of 
independence  and  of  equally  unsuccessful  revolts  after  the  establish- 
ment of  the  Roman  government.  The  earhest  of  these  accounts  goes 
back  to  the  time  of  the  kings.  During  the  reign  of  Tarquinius  Pris- 
cus,  Arretium  with  four  other  Etmscan  towns,  Clusium,  Volaterrae, 
Rusellae,  and  Vetulonia,  is  said  to  have  joined  the  Latins  and  the 
Sabines  in  an  attempt  to  check  the  growing  power  of  the  city  on 
the  Tiber.^  In  311  b.c.,  it  is  mentioned  as  the  only  Etmscan  city 
that  did  not  take  part  in  an  attack  upon  Sutrium,  which  at  that 
time  was  in  alliance  with  Rome.^  Later,  however,  the  citizens  seem 
to  have  been  induced  to  change  their  attitude,  for  in  the  next  year 


Dionysius  of  Hcdicamassus,  Ant.  Rom.  3,  51. 

[ 1 ] 


2 Livy  9,  32. 


ARRETINE  POTTERY 


(310  B.C.),  we  find  ambassadors  from  Arretium,  Perasia,  and  Cor- 
tona making  peace  with  the  Romans/  In  301,  a local  quarrel, 
brought  on  by  an  attempt  to  expel  the  Cilnii,^  the  most  powerful 
of  the  Arretine  families,  again  involved  the  city  in  a struggle  with 
the  Romans.  According  to  the  account  given  by  Eivy,  a Roman 
army  marched  against  Arretium,  and  during  the  absence  of  their 
commander,  the  dictator  Valerius  Maximus,  suffered  a defeat  at 
the  hands  of  the  Arretines  and  other  Etruscans  who  had  joined 
them,  but  ultimately  the  allies  were  defeated  and  the  Cilnii  restored. 
Livy  adds,  however,  that  some  authorities  declared  that  there  was 
no  war  upon  the  Arretines  at  this  time,  but  that  the  insurrection  was 
peaceably  suppressed.®  Again,  in  294,  we  find  Arretium  engaged 
with  other  Etruscan  cities  in  still  another  struggle  with  Rome,  as  a 
result  of  which  they  were  forced  to  purchase  a forty  years’  truce  for 
a large  sum.^  During  the  Gallic  invasion  of  283,  the  city  was  be- 
sieged by  the  Senones,  and  a Roman  army  which  was  sent  to  its 
relief  was  defeated  with  great  slaughter.® 

Just  when  Arretium  became  subject  to  Rome  is  imknown,  but 
from  the  fact  that  no  triumph  over  the  Arretines  is  recorded,  it  is 
perhaps  reasonable  to  think  that  the  change  was  brought  about  by 
peaceful  means.  As  a dependent  city,  it  played  some  part  in  the 
Second  Punic  War,  largely  because  of  its  situation  on  one  of  the 
two  roads  from  Rome  to  northern  Italy.  In  217  b.c.,  Flaminius 
took  up  his  position  near  its  walls  to  await  the  invading  host  of  Han- 
nibal ; ® in  209  and  208,  Rome  was  disturbed  by  rumors  of  an  up- 

* Livy  9,  37;  c/.  Diodorus  20,  35. 

* The  Cilnii  are  interesting  as  the  ancestors  of  Horace's  'patron,  C.  Cilnius  Maecenas. 

* Livy  10,  3-5.  * Livy  10,  37.  * Polybius  2,  19.  ^ Polybiiis  3,  77  and  80;  Livy  22,  2 and  3. 

[ 2 ] 


ARRETINE  POTTERY 


rising  in  Etruria,  fomented  by  the  Arretines,  but  the  prompt  and 
summary  action  of  the  consul  designatus,  M.  Marcellus,  and  the 
propraetors  of  Etruria,  C.  Calpumius  and  C.  Hostilius,  and  es- 
pecially the  exaction  of  one  hundred  and  twenty  sons  of  Arretine 
senators  as  hostages  “ pacified  ” the  region ; ^ and  later,  when  Scipio 
was  making  preparations  for  the  invasion  of  Africa,  and  each  of  the 
Etruscan  cities  was  called  upon  to  contribute  to  the  equipment  of 
his  fieet,  Arretium  furnished  “ 3,000  shields,  an  equal  number  of 
helmets,  also  javelins,  pikes,  and  long  spears  to  the  number  of 
50,000,  axes,  spades,  hooks,  buckets,  and  mills,  enough  for  forty 
galleys,”  as  well  as  wheat  and  a contribution  of  money  for  the 
decurions  and  the  rowers.^ 

In  the  struggle  between  Marius  and  Sulla,  the  Arretines  sided 
with  the  former,  with  the  result  that  after  the  final  triumph  of  Sulla, 
laws  were  passed  which  deprived  them  of  their  rights  of  citizenship 
and  confiscated  their  lands.  The  statements  of  Cicero,  from  whom 
we  derive  this  information,  imply  that  in  later  times  the  former  law 
was  regarded  as  inoperative,  and  that  a part,  at  least,  of  the  Arretine 
territory  was  recovered  by  the  owners.®  It  seems  probable,  however, 
that  a colony  of  the  veterans  of  Sulla  was  established  in  the  territory 
of  Arretium  at  this  time,^  and  that  it  was  from  them  that  the  coloni 
Arretini  whom  Cicero  ® mentions  among  the  followers  of  Catiline 
were  recruited. 

In  the  war  between  Caesar  and  Pompey,  Arretium  was  one  of 

^ lAvy  27,  21,  22,  and  24.  * Livy  28,  45. 

• Cic.  pro  Caecina  97;  pro  Murena  49;  ad  Att.  1,  19,  4. 

* Cf.  Bull,  1879,  pp.  166-168;  Mommsen,  Rom.  Geschichte,  Vol.  II*,  p.  343  {in  the  latest  English 

translation,  published  in  1903,  Vol.  IV,  p.  108).  * Cic.  pro  Murena  49. 

[ 3 ] 


ARRETINE  POTTERY 


the  first  places  that  Caesar  occupied  after  crossing  the  Rubicon.^  In 
the  time  of  Caesar  or  Augustus,  it  received  a Roman  colony.^  Pliny 
speaks  of  Arretini  Veteres,  Arretini  Fidentes,  and  Arretini  Juli- 
enses,®  implying  the  existence  in  the  territory  of  Arretium  of  three 
settlements,  Arretium  Vetus,  Arretium  Fidens,  and  Arretium  Ju- 
lium.  Of  these,  Arretium  Vetus  would  naturally  be  the  old  Etras- 
can  city,  Arretium  JuJium  the  colony  founded  by  Julius  Caesar 
or  Augustus.  Arretium  Fidens  has  sometimes  been  thought  to  be 
the  colony  sent  by  SuUa,  but  it  may  have  been  established  at  some 
other  time.  It  must  be  admitted,  also,  that  the  existence  of  three 
distinct  settlements  is  not  certain.  Strabo  makes  no  reference  to 
separate  towns,  but  speaks  simply  of  Arretium,  which,  he  says,  was 
the  most  inland  city  of  Etruria.^  It  is  possible,  therefore,  that  the 
terms  Arretini  Veteres,  Arretini  Fidentes,  and  Arretini  Julienses 
refer  only  to  distinct  bodies  of  settlers  who  for  some  reason  had  re- 
ceived a separate  municipal  organization. 

Such  is  the  history  of  Arretium,  so  far  as  we  can  piece  it  together 
from  the  scattered  notices  of  Greek  and  Latin  writers,  a history  not 
very  diff erent  from  that  of  the  other  cities  of  Etruria,  except  per- 
haps in  the  fact  that  owing  to  its  remoteness  from  Rome,  the  city 
suffered  less  from  its  struggles  with  the  Romans  than  the  settle- 
ments farther  south.  The  prosperity  of  the  city  depended  largely 
on  the  fertility  of  the  surrounding  territory.  Its  vines  and  its  wheat 
are  praised  by  Pliny,®  and  even  to-day  the  region  produces  a wine 
whose  excellence  is  sung  by  the  poets  of  the  modem  town.  Manu- 

* Caesar,  B.  C.  1,  11;  Cic.  ad.  Farn.  16,  12. 

* Frontinus,  De  Cdoniis  ; cf.  Liber  Coloniarum,  p.  215;  C.  I.L.  XI,  p.  336. 

» Plin.  N.  H.  3,  52.  * Strab.  V,  p.  226.  ‘ N.  H.  14,  36  and  18,  87. 

[ 4 ] 


ARRETINE  POTTERY 


facturing,  also,  must  have  played  a prominent  part  in  the  life  of 
the  ancient  Arretines,  for  among  all  the  Etruscan  towns,  it  is  note- 
worthy that  only  Arretium  was  called  upon  to  furnish  shields  and 
spears  and  other  equipment  for  Scipio’s  fleet.^  For  an  extensive 
production  of  vases  we  have  no  evidence  from  the  earlier  period  of 
the  city.  The  Etruscan  tombs  of  the  ancient  necropolis  have  yielded 
specimens  of  the  ordinary  Etruscan  black  ware  (bucchero),  as  well 
as  imported  Greek  vases,  but  these  do  not  differ  essentially  from  the 
vases  found  on  other  Etruscan  sites.^  The  fact  that  early  bronze 
coins  found  at  Arezzo  have  a vase  as  the  type  on  the  reverse  has 
sometimes  been  urged  as  a proof  of  the  early  importance  of  the  vase- 
maker’s  art,  but  the  argument  is  of  very  doubtful  value.^  The  vases 
to  which  the  name  Arretine  is  given,  at  all  events,  belong  distinctly 
to  the  Roman  period.*  They  are  mentioned  several  times  by  Roman 
writers  of  the  first  century  a.d.  and  later  in  such  a way  as  to  imply 
that  they  formed  a well-recognized  class  among  Roman  ceramic 
products  and  were  largely  exported,  and  although  it  is  probable  that 
the  name  “ Arretine  ” was  gradually  extended  to  include  similar 
vases  made  elsewhere,  such  a use  of  terms  could  not  have  arisen  un- 
less the  vases  of  Arretium  had  come  to  be  well  known  and  univer- 
sally recognized.  The  most  important  passages  in  regard  to  them 
occur  in  the  Naturalis  Historia  of  Pliny  and  the  Etymologiae  of 
Isidorus  of  Seville,  an  encyclopedic  work  of  the  seventh  century, 
based  upon  the  statements  of  earlier  writers.  Pliny’s  statement  is 

* Cf.  supra,  p.  3.  * Cf.  Dennis,  Cities  and  Cemeteries  of  Etruria,  ID,  pp.  384-389. 

* Cf.  Gamurrini,  p.  9;  Marchi  and  Tessieri,  L’Aes  grave  del  Museo  Kircheriano,  Classe  III,  pi. 
5 and  6. 

* Cf.  pp.  Z9ff.  for  a discussion  of  the  date  of  the  Arretine  ware. 

[ 5 ] 


AKRETINE  POTTERY 


as  follows;  “ The  majority  of  mankind  use  earthenware  vessels. 
Samian  ware  is  well  spoken  of  even  at  the  present  day  for  dinner 
services.  This  reputation  is  kept  up  also  by  Arretium  in  Italy,  and 

for  drinking  cups  only  by  Surrentum,  Hasta,  PoUentia,  Saguntum 
in  Spam,  and  Pergamum  in  Asia.  Tralles  is  also  a centre  for  pot- 
tery, and  Mutina  in  Italy.”  ^ Isidorus  informs  us  that  “ Arretme 
vases  are  so  called  from  Arretium,  a town  in  Italy,  where  they  are 
made;  for  they  are  red.  It  is  these  of  which  Sedulius  speaks  when 
he  says: 

‘ The  red  pot  serves  the  greens  that  are  set  before  us.’  ” ' 

Even  more  interesting  are  two  passages  in  Martial,  in  which  we 
see  reflected  the  Roman  taste  of  the  first  century  a.d.  In  one,  the 
poet  mocks  at  the  plagiarist  Fidentinus,  in  whose  book  of  epigrams, 
he  says,  there  is  only  one  original  page,  but  that  so  bad  that  it  is 
clearly  stamped  as  the  author’s  own.  “ Just  so  a Gallic  cloak, 
among  the  purple  robes  of  the  city,  stains  them  with  grease  and 
filth;  so  the  clay  vases  of  Arretium  spoil  the  effect  of  crystal  cups; 
so  the  black  crow  when  he  chances  to  stray  on  the  banks  of  the 
Cayster,  is  laughed  to  scorn  among  the  swans  of  Leda ; so  when  the 


> Plin.  N.  H.  35,  160/.;  Maior  pars  honiinum  terrenis  utitur  vasis.  Sarnia  etiamnunc  in  et- 
culentis  laudantur.  Retinent  kanc  nobilitatem  et  Arretium  in  Italia,  et  calicum  tantum  Surrentum, 
Hasta,  PoUentia,  in  Hispania  Saguntum,  in  Asia  Pergamum.  Habent  et  TraUis  ibi  opera  sua  et  in 
Italia  Mutina. 

• Isidorus,  Etym.  20, 4,  5 : Aretina  vasa,  ex  Aretio  municipio  Italiae  dicuntur,  vhi  fiunt;  sunt  enim 
rubra.  De  quibus  Sedulius: 

Ruhra  quod  appositum  testa  ministrat  olus. 

The  poet  Caelius  Sedidius  wrote  about  494  a.d.  It  may  be  doubted  whether  Isidorus  is  right  in 
referring  the  “rubra  testa  ” of  Sedulius  specifically  to  Arretine  ware,  and  his  present  tenses  are  doubt- 
less taken  from  the  author  he  was  excdrpting  {perhaps  Pliny  himself).  They  cannot  be  taken  to  mean 
that  the  potters  of  Arretium  were  active  as  late  as  the  seventh  century. 

[ 6 ] 


ARRETINE  POTTERY 


sacred  grove  resounds  with  the  varied  notes  of  the  tuneful  nightin- 
gale, the  wretched  magpie  mars  her  Attic  plaints.”  ^ Modern  ad- 
mirers of  the  products  of  the  Arretine  potters  have  tried  to  extract 
a compliment  from  these  lines,  but  with  little  success.  To  the 
wealthy  Romans  of  the  first  century,  accustomed  to  luxury  as  few 
others  have  ever  been,  the  clay  vases  of  Arretium  could  hardly  be 
expected  to  appeal.  Nevertheless,  in  another  epigram,  the  poet 
warns  his  contemporaries  against  too  low  an  estimate  of  these  hum- 
ble vessels : “ We  warn  you  not  to  look  with  too  much  contempt 
on  the  Arretine  vases.  Porsena  was  fine  with  his  Etruscan  earthen- 
ware.  ^ 

Another  interesting  epigram,  which  is  sometimes  attributed  to 
Virgil,  though  it  undoubtedly  was  written  by  a later  poet,  takes  the 
form  of  an  address  to  an  Arretine  cup  that  had  been  used  for 
taking  medicine.  It  runs : “ Arretine  cup,  once  the  glory  of  my 
father’s  table,  how  sound  you  were  before  the  doctor’s  hand.”  ^ 

From  all  this,  it  is  clear  that  the  red  ware  of  Arretium,  although 
it  was  considered  inferior  to  the  vessels  of  gold  and  silver  and 

* Martial,  Ep.  1,  53. 

* Martial,  Ep.  14,  98; 

Arretina  nimis  ne  spemas  vasa  monemus; 

Lautus  erat  Tuscis  Porsena  fktilibus. 

* Baehrens,  Poetae  Latini  Minores,  IV,  No.  158: 

Arretine  calix,  mensis  decus  ante  patemis. 

Ante  manus  medici  quam  bene  sanus  eras. 

Two  other  passages  which  have  sometimes  been  brought  into  connection  vhth  the  vases  of  Arretium 
are  Persius  I,  127-130  and  Macrobius,  Saturnalia  2,  4,  12.  In  the  former  passage,  the  poet  describes 
several  classes  of  persons  whom  he  does  not  wish  to  be  among  his  readers.  “I  don't  want  the  low  fellow 
who  loves  to  crack  a joke  on  the  slippers  of  the  Greeks,  and  is  equal  to  calling  a one-eyed  man  Old  One- 
Eye,  thinking  he  is  somebody  because  once,  as  aedile,  filled  loith  the  pride  of  provincial  office,  he  broke 
short  half -pint  measures  at  Arretium  {fregerileminas  Arreti  aedilis  iniquas)."  It  is  clearly  stretching 

[ 7 ] 


ARRETINE  POTTERY 


precious  stones  in  which  the  Romans  of  the  Empire  delighted,  en- 
joyed a considerable  vogue  and  more  than  a local  fame.  And  this 
inference  is  confirmed  by  the  discoveries  of  modem  times.  It  is 
hardly  too  much  to  say  that  Arretine  vases  and  fragments  have  been 
found  in  every  part  of  the  Roman  empire,  in  most  cases,  doubtless, 
imported  and  sold  by  Roman  merchants,  in  others,  perhaps,  carried 
by  the  legionaries  in  their  campaigns  or  by  traveUers.  As  the  Arre- 
tine potters  were  accustomed  to  sign  their  vases  (though  this  is  not 
an  invariable  custom),  the  products  of  the  Arretine  kilns  can  be 
recognized  wherever  they  are  found,  and  the  Hst  of  such  finding 
places  is  one  of  the  best  proofs  of  the  popularity  of  the  Arretine 
wares.  It  includes  not  only  Arezzo,  Rome,  Rimini,  Modena,  and 
other  places  in  Italy,  but  numerous  sites  in  Gallia  Narbonensis,  in 
Spain,  and  in  Africa;  and  sporadic  finds  have  been  made  in  the 
Greek  islands  and  even  in  Asia  Minor.  In  the  northern  provinces 
of  the  Empire,  the  number  of  finding  places  is  smaller,  owing 
largely  to  the  fact  that  in  these  districts,  soon  after  their  con- 
quest by  the  Romans,  an  important  local  industry  was  developed 
by  which  the  local  demand  was  supplied.  Nevertheless,  even 


a point  to  find  here  any  reference  to  Arretine  wares  as  a class.  Yet  this  was  done  by  an  ancient  com- 
mentator, who  informs  us  that  the  half -pint  pots  referred  to  are  “ small  vessels  from  the  town  of  Arre- 
tium,  where  ‘Arretine  ’ vases  are  made  ” {minora  vasa  ex  Aretio,  ubi  fiunt  Aretina  vasa). 

The  passage  in  Macrobius  contains  a story  to  the  effect  that  Augustus  was  wont  to  mock  at  the 
lax  and  effeminate  style  of  Maecenas,  and  once  in  concluding  a letter,  addressed  him  with  all  the  en- 
dearing terms  that  were  usually  reserved  for  women,  calling  him  “silphium  of  Arretium,  pearl  of  the 
T iber,  emerald  of  the  Cilnii,  jasper  of  the  potters,  beryl  of  Porsena,"  and  so  on  {lasar  Arretinum,  Tiber- 
inum  magaritum,  Cilniorum  smaragde,  iaspi  figulorum,  berutle  Porsenae).  The  editors  of  Macrobius 
usually  adopt  a conjecture  of  John's  and  read  Iguvinorum  for  the  figulorum  of  the  mss.  In  any  case 
the  passage  is  of  no  great  value,  since  the  importance  of  the  potters  of  Arretium  is  sufficiently  proved 
without  it. 

[ 8 ] 


ARRETINE  POTTERY 


here,  in  Germany  and  Northern  Gaul,  and  even  in  Britain,  a 
very  considerable  number  of  vases  and  fragments  has  been  discov- 
ered which  are  shown  by  the  signatures  they  bear  to  be  the  work 
of  Arretine  potters. 

But  the  great  finding  place,  naturally  enough,  is  Arezzo  itself. 
Here,  both  inside  the  modern  city  and  in  the  outlying  districts,  many 
remains  of  ancient  potteries  have  been  found,  containing  not  only 
fragments  of  vases  and  of  the  moulds  from  which  they  were  made, 
but  also  in  some  cases  the  vats  in  which  the  clay  was  purified,  the 
wheels  on  which  the  vases  and  the  moulds  were  thrown,  the  stamps 
with  which  the  figmes  were  produced,  and  other  implements  of  the 
potter’s  trade.  Tombs  also  have  occasionally  yielded  fragments  of 
vases.  The  earliest  record  of  such  discoveries  goes  back  to  the  thir- 
teenth century.  In  a manuscript  entitled  Libro  della  Compositione 
del  Mondo,  written  by  a certain  Ser  Ristoro  d’ Arezzo  and  dated 
1282,  the  author  records  the  discovery  in  and  near  Arezzo  of  frag- 
ments of  vases  colored  black  and  red,  but  generally  red,  on  which 
were  represented  “ all  sorts  of  plants  and  leaves  and  flowers,  and  all 
sorts  of  animals,”  as  well  as  “ figures  in  relief — some  thin  and  some 
fat,  some  laughing  and  some  crying,  living  and  dead,  old  and 
young,  armed  and  unarmed,”  and  so  on  for  nearly  a page  of  an- 
titheses. “ When  any  of  these  fragments  come  into  the  hands  of 
sculptors  or  artists  or  other  connoisseurs,”  writes  Ser  Ristoro,  “ they 
consider  them  like  sacred  relics,  marvelling  that  human  nature  could 
rise  to  such  a height  in  the  subtlety,  in  the  workmanship,  and  the 
form  of  those  vases,  and  in  their  colors  and  their  figures  in  relief; 
and  they  say  that  the  makers  were  divine  or  the  vases  fell  from 

[ 9 ] 


ARRETINE  POTTERY 


heaven.”  ^ The  entire  passage  is  interesting  as  an  example  of  the 
enthusiastic  admiration  for  the  relics  of  ancient  art  which  even  as 
early  as  the  thirteenth  century  was  beginning  to  make  itself  felt 
throughout  Italy.  Making  every  allowance  for  local  patriotism,  we 
cannot  doubt  that  these  earliest  discovered  relics  of  Arretine  pottery 
produced  a profound  impression  on  the  contemporaries  of  Ser 
Ristoro. 

That  fragments  of  vases  continued  to  be  found  during  the  cen- 
tury that  succeeded  the  writing  of  Ser  Ristoro’s  Lihro  is  shown  by 
a brief  notice  in  the  Cronaca  Fiorentina  of  Giovanni  Villani,  who 
died  in  the  great  plague  at  Florence  in  1348.  This  writer,  in  speak- 
ing of  Arezzo,  mentions  the  red  vases  with  reliefs  which  “ it  seems 
impossible  to  believe  were  made  by  human  hands,”  and  concludes 
his  brief  account  with  the  statement  “ they  are  still  found.”  ^ Of 
discoveries  made  in  the  second  half  of  the  fifteenth  century,  we  have 
two  interesting  accounts,  one  in  a manuscript  written  by  Marco  At- 
tilio  Alessi,  now  in  the  Bibliotheca  Riccardiana  in  Florence,  the 
other  in  Vasari’s  famous  Lives  of  the  Painters.  The  latter  account 
refers  to  a somewhat  earlier  date  and  so  may  be  considered  first.  In 
the  life  of  his  great-grandfather  Lazzaro,  the  biographer  relates  that 
his  grandfather,  Giorgio  Vasari,  who  died  in  1484  at  the  age  of 
sixty-eight,  maintained  until  the  end  of  his  life  the  antiquity  of  the 
Arretine  vases;  that  in  a field  near  the  Ponte  delle  Carciarelle  (a 

■ The  passage  is  quoted  in  full  by  Fabroni,  pp.  12jf.  Cf.  also  Pignotti,  Storia  della  Toscana 
{Pisa,  1813),  I,  pp.  144^.;  Gori,  Difesa  dell'  Alfabeto  Etrusco,  Preface,  p.  207;  Monad,  CresUmazia 
Italiana  dd  Primi  Secdi,  pp.  366ff. 

* The  passage  occurs  in  Book  I,  Chapter  47  {in  the  edition  published  at  Milan  in  1802,  Vol.  I, 
p.  72).  Cf.  Pignotti,  I,  p.  146;  Fabroni,  p.  16. 

[ 10  ] 


ARRETINE  POTTERY 


bridge  over  the  Castro,  distant  about  a mile  from  Ai’ezzo) , he  found 
at  a depth  of  three  cubits  three  vaults  of  an  ancient  kiln,  four  com- 
plete vases,  many  fragments,  and  near  them  some  of  the  clay  that 
was  used  in  making  the  ware ; that  he  gave  the  vases  to  Lorenzo  de’ 
Medici  (II  Magnifico)  during  a visit  which  the  Florentine  made  to 
Arezzo,  and  that  it  was  this  gift  that  procured  for  the  family  of 
Vasari  the  favor  of  the  Medici.  Further,  Vasari  relates  that  his 
grandfather  made  successful  experiments  in  reproducing  the  an- 
cient ware,  some  specimens  of  his  work  lasting  to  the  time  of  the 
biographer.^  Alessi’s  account  also  refers  to  discoveries  near  the 
Ponte  delle  Carciarelle.  He  speaks  of  a great  quantity  of  frag- 
ments with  inscriptions — the  first  known  record  of  the  inscriptions 
that  occur  so  frequently — and  mentions  especially  one  great  find 
made  in  1492  in  the  presence  of  Giovanni  de’  Medici,  who  later 
became  Pope  Leo  X.^  From  the  inscriptions  it  appeared  that  the 
proprietor  of  the  most  important  pottery  near  the  Ponte  deUe  Car- 
ciarelle was  named  Calidius  Strigo,  a fact  which  has  been  confirmed 
by  recent  excavations.®  A smaller  number  of  fragments  bore  the 
name  of  Domitius. 

From  the  sixteenth  and  the  seventeenth  centuries,  we  have  no 
record  of  further  discoveries.  About  the  middle  of  the  eighteenth 
century,  however,  two  new  potteries  belonging  to  P.  Cornelius  and 

1 Vasari,  Vite  dei  Pittori,  II,  pp.  557ff.  (jin  the  edition  published  at  Florence  in  1878-85).  In  the 
translation  of  Mrs.  Foster,  published  at  London  in  1895-1901,  the  passage  is  on  pp.\53f.  of  Vol.  II. 
Cf.  Fabroni,  pp.  18/. 

2 Alessi’s  account  was  first  published  by  Gori  in  his  Inscriptiones  antiquae  Graecae  et  Romanae  in 
Etruriae  Urbibus  Exstantes  (Florence,  1734),  II,  p.  320.  Cf.  Pignotti,  I,  pp.  146^.;  Fabroni,  pp. 
16-18. 

3 Cf.  U.^Pasqui,  Not.  Scav.  1894,  pp.  12lff. 

[ 11  ] 


ARRETINE  POTTERY 


C.  Cispius  were  discovered  by  the  Arretine  Francesco  Rossi  at  Cin- 
celli,  some  five  miles  from  the  city;  and  later,  in  1779,  excavation  in 
this  region  brought  to  fight  remains  of  a potter’s  wheel,  of  kilns, 
vats,  and  utensils,  as  well  as  fragments  of  vases  and  moulds.  These 
passed  from  the  collection  of  Signor  Rossi  into  the  Bacci  Collection, 
and  ultimately  into  the  Museo  Pubbfico  at  Arezzo.  During  this 
same  century,  the  writings  of  Gori,  who  published  the  accounts  of 
Ser  Ristoro  and  Alessi,  together  with  some  additional  inscriptions 
from  the  manuscript  record  of  Giacomo  Burafi,  made  the  earlier 
discoveries  known  to  a wide  circle  of  readers.^  Rossi  himself  planned 
to  publish  an  account  of  the  Arretine  fabrics  and  especially  of  the 
results  of  his  excavations,  and  although  the  promised  monograph 
never  appeared,  it  was  discovered  among  his  papers  after  his  death, 
and  used  by  several  later  writers.  Of  these  the  most  important  is 
Inghirami,  whose  elaborate  Monumenti  Etruschi  o di  Etrusco 
Nome  contains  tw'elve  pages  and  a colored  engraved  plate  devoted 
to  Arretine  ware.^  The  plate  especially  is  interesting  as  the  first 
attempt  at  the  reproduction  of  Arretine  fragments. 

The  great  discoveries  of  vases  and  other  antiquities  at  Vulci  in 
1829  and  the  years  immediately  after  inspired  all  the  Italian  anti- 
quaries to  renewed  investigations.  At  the  same  time,  the  establish- 
ment of  the  Institute  di  Corrispondenza  Archeologica  at  Rome  gave 
them  a more  convenient  medium  for  the  publication  of  their  discov- 
eries than  they  had  before  enjoyed.  The  numbers  of  the  Annali  and 
the  Bulletino  delV  InstitutOj  which  began  to  be  published  in  1829 

‘ Cf.  supra,  p.  10,  note  1 and  p.  11,  note  2. 

• Inghirami,  Monumenti  Etruschi  o di  Etrusco  Nome  {Fiesole,  1824),  Vol.  V,  pp.  1-12;  pi.  1. 

[ 12  ] 


ARRETINE  POTTERY 


and  ceased  to  exist  in  1885,  contain  many  brief  notices  of  new  finds 
at  Arezzo.  Since  1885,  the  most  important  accounts  have  appeared 
in  the  Italian  Notizie  degli  Scavi,  which  even  before  that  date  had 
contained  occasional  notices.  In  recent  years,  the  richest  finds  inside 
the  city  limits  have  been  made  in  the  neighborhood  of  the  modern 
theatre  and  the  church  of  Santa  Maria  in  Gradi.  The  most  impor- 
tant finding  place  outside  the  walls  has  been  the  neighborhood  of 
Cincelli.  The  vases  and  fragments  that  have  been  discovered  in 
these  excavations  have  for  the  most  part  found  a place  in  the  Museo 
Pubblico  at  Arezzo,  which  now  contains  the  finest  collection  of  this 
class  of  vases  in  the  world.  Others  have  passed  into  private  hands, 
and  thence  in  some  cases  have  been  sold  out  of  Italy,  to  become  parts 
of  collections  in  other  countries.  It  was  in  this  way  that  the  Loeb 
Collection  was  acquired.  The  principal  part  of  the  Collection  was 
bought  in  Rome  in  1904;  three  of  the  complete  moulds  (Nos.  1,  76, 
223)  were  bought  later,  in  1907. 

The  methods  used  by  the  potters  of  Arretium,  as  they  have  been 
revealed  by  these  excavations,  do  not  differ  from  those  used  by  pot- 
ters in  other  parts  of  the  Roman  world.  Like  their  contemporaries 
in  other  regions,  they  produced  no  painted  pottery,  but  confined 
themselves,  so  far  as  they  decorated  their  vases  at  all,  to  decoration 
in  relief.  In  this  they  followed  the  traditions  of  the  later  Greek 
ceramists,  who  even  before  the  beginning  of  the  second  century  b.c. 
had  abandoned  the  painted  decoration  by  which  their  predecessors 
had  distinguished  themselves.  Technically  considered,  the  vases  of 
Arretium  fall  into  three  classes : 

1.  Plain  vases,  simply  thrown  on  the  wheel,  glazed,  and  fired. 

[ 13  ] 


ARRETINE  POTTERY 


Handles  were  sometimes  added,  and  on  the  bottom  of  the  vase, 
inside,  was  usually  stamped  the  name  of  the  owner  of  the  factory, 
or  that  of  the  slave  who  made  the  vase,  or  both. 

2.  Vases  with  applied  reliefs,  a more  elaborate  type,  in  which 
the  vase  is  decorated  with  simple  rehefs,  modelled  sometimes  by 
hand,  but  more  commonly  by  the  use  of  moulds,  and  applied  to  the 
vase  as  the  handles  were  apphed,  after  it  was  taken  from  the  wheel. 
Vases  of  this  type,  also,  frequently  have  signatures  stamped  on  the 
inside. 

3.  Mould-made  vases  (in  modern  times  commonly  called  terra 
sigillata),  by  far  the  largest  and  most  important  category.  Here 
the  process  of  manufacture  was  much  more  complicated  than  in  the 
case  of  the  plain  vases  and  the  vases  with  applied  reliefs.  The  potter 
first  formed  upon  the  wheel  a hollow  mould  of  clay,  giving  to  the 
inside  the  form  and  the  dimensions  which  he  had  in  mind  for  the  body 
of  the  completed  vase.  Next  by  means  of  small  stamps  with  designs 
in  rehef,  he  impressed  in  the  inside  of  the  mould,  while  it  was  still 
soft,  the  figures  and  patterns  with  which  the  completed  vase  was  to 
be  decorated.  These,  as  they  were  made  from  designs  in  relief,  have 
in  the  moulds  the  form  of  hollow  impressions.  From  such  a mould, 
after  it  had  been  baked  hard  by  firing,  any  number  of  vases  could 
be  produced  by  simply  pressing  clay  into  the  mould,  removing  this 
shell  when  it  was  still  somewhat  soft,  glazing,  and  firing.  In  gen- 
eral the  mould  seems  to  have  been  placed  upon  the  wheel  to  receive 
its  lining  of  clay ; the  inside  of  a moulded  vase  usually  shows  a series 
of  shallow  grooves  at  regular  intervals,  marks  of  the  tool  by  which 
the  interior  was  worked  smooth  after  the  clay  had  been  pressed  into 

[ 14  ] 


ARRETINE  POTTERY 


the  hollows  of  the  mould.  In  some  cases,  the  vase  was  glazed  and 
fired  precisely  as  it  came  from  the  mould.  Usually,  however,  a sepa- 
rately modelled  foot  and  a plain  rim  with  simple  mouldings  at  the 
top  were  attached  to  the  shell.  Handles,  also,  and  plastic  ornaments 
like  those  of  the  plain  vases  and  the  vases  with  separately  modelled 
reliefs  were  frequently  added,  although  one  striking  characteristic 
of  the  Arretine  vases,  and  indeed  of  Roman  pottery  in  general,  is 
the  comparative  lack  of  handles,  probably  due  to  the  fact  that  vases 
without  handles  could  be  packed  for  export  with  greater  security. 
There  is  some  evidence  that  in  the  case  of  the  most  carefully  made 
vases,  the  potter  went  over  the  surface  of  the  shell  before  it  was  fired 
with  a pointed  instrument,  sharpening  details  that  had  been  blurred 
in  the  process  of  moulding,  adding  bits  of  patterns,  and  in  general 
“ retouching  ” the  whole.  The  process  is  one  that  is  familiar  in  the 
work  of  the  makers  of  terra-cotta  figurines,  to  whose  methods  the 
methods  of  the  Roman  potters  are  closely  similar. 

The  stamps  which  were  used  by  the  Arretine  potters  were  proba- 
bly of  different  materials,  wood,  metal,  and  clay.  Those  that  have 
been  found  are  all  of  clay,  and  some  are  very  well  preserved.  One 
of  the  finest  is  published  by  Fabroni.^  The  British  Museum  pos- 
sesses an  admirable  stamp  with  a figure  of  Spring  upon  it.^  A 
specimen  in  the  Boston  Museum  of  Fine  Arts  contains  a stamp  with 
a design  for  a crescent-shaped  pattern  which  actually  appears  on 
one  of  the  moulds  of  the  Loeh  Collection.®  All  these,  and  other  Ro- 
man stamps  from  the  provinces  ^ show  that  the  stamp  was  regularly 
provided  with  a handle  by  means  of  which  it  could  be  pressed  into  the 

• Plate  5,  No.  4.  ^ Cf.  Walters,  Vol.  II,  pi.  66,  fig.  2.  > No.  160.  * Cf.  Walters,  II,  pp.  439,  440. 

[ IS  ] 


ARRETINE  POTTERY 


mould.  The  number  of  stamps  necessary  to  produce  the  great 
variety  which  is  apparent  in  the  vases  seems  at  first  sight  to  be  very 
large,  but  a closer  study  of  any  considerable  collection  of  vases  and 
moulds  shows  that  the  number  was  much  smaller  than  it  appears  at 
first.  Nothing,  in  fact,  is  more  interesting  than  the  way  in  which 
the  potter,  with  a comparatively  small  number  of  stamps,  succeeds 
by  different  combinations  in  producing  very  different  effects.  The 
best  examples  are  found  in  vases  with  purely  conventional  decora- 
tion, such  as  Nos.  223  and  305ff.  In  No.  305,  the  entire  festoon  of 
fruits  and  flowers  which  forms  the  principal  element  in  the  decora- 
tion, was  produced  by  a single  small  stamp.  To  form  his  festoon, 
the  potter  simply  repeated  the  stamp  twelve  times,  turning  it  over 
for  each  new  impression,  so  that  what  appears  as  the  upper  portion 
in  one  section  appears  as  the  lower  in  the  next.  The  spaces  between 
the  separate  bits  of  this  design  were  then  fiUed  with  alternating  sin- 
gle flowers  and  bees.  Cupids,  birds,  bees,  and  lizards  were  added 
at  intervals,  and  the  result  is  a design  of  very  considerable  variety. 
This  method  of  working  with  small  stamps  was  even  apphed  to 
human  figures,  in  which  attributes  and  even  parts  of  the  drapery 
were  sometimes  produced  by  the  use  of  small  supplementary 
stamps.^  The  process  is  one,  again,  which  recalls  the  methods  of 
the  makers  of  terra-cotta  figurines. 

The  moulds  are  made  of  a fine  yellow  clay,  which  sometimes  has 
a pink  color  in  fractures.  They  range  in  size  from  moulds  for  very 
small  cups  to  moulds  for  bowls  measuring  six  inches  and  more  in 
diameter.  They  are  usually  provided  with  a low  foot  to  make  them 


C/.  the  descriptions  of  Nos.  2,  3,  17,  174. 

[ 16  ] 


ARRETINE  POTTERY 

stand  firmly  on  the  wheel,  and  with  a slight  rim  at  the  top  for  con- 
venience in  handling.  In  impressing  the  stamps  in  the  mould,  the 
potter  seems  regularly  to  have  first  divided  the  surface  horizontally 
by  means  of  mouldings  and  patterns  running  entirely  around  the 
inside  of  the  mould;  the  commonest  forms  are  simple  grooves  (which 
come  out  as  convex  mouldings  in  the  vase),  rows  of  bosses  and 
rosettes,  bands  of  egg  and  dart,  and  similar  patterns.  The  usual 
scheme  consists  of  a simple  moulding  near  the  bottom  of  the  mould, 
a row  of  bosses  or  rosettes  or  a simple  moulding  higher  up,  which 
sets  off  a small  field  for  decoration  around  the  bottom,  and  then  near 
the  top,  several  patterns  and  mouldings  close  together,  one  of  which 
is  usually  an  egg  and  dart.  It  has  often  been  thought  that  all  these 
patterns  were  produced  with  a small  wheel  or  disc,  which  the  potter 
pressed  against  the  mould  as  he  turned  it  on  the  wheel,  and  in  the 
case  of  the  simple  mouldings,  the  lines  are  so  exact  that  this  seems 
the  natural  explanation.  In  the  case  of  the  patterns,  however,  the 
frequent  irregularities  in  alignment  and  spacing  make  it  clear  that 
the  patterns  were  usually  produced  by  repeating  a small  stamp  con- 
taining only  a small  bit  of  pattern  (a  single  boss,  a rosette,  or  a 
single  egg  and  dart) . The  numerous  cases  in  which  a row  of  bosses 
appears  in  the  completed  vase  as  if  ranged  upon  a convex  moulding 
show  that  a slight  groove  was  often  impressed  in  the  mould  first,  to 
aid  the  potter  in  aligning  his  patterns  correctly.  After  the  fields 
for  decoration  had  been  marked  off  in  this  way,  the  next  task  was 
to  fill  them  with  figures  or  decorative  designs.  This  was  usually 
accomplished  by  dividing  the  smface  to  be  decorated  into  a definite 
number  of  parts  (usually  four),  by  pillars,  staffs,  tripods,  trees, 

[ 17  ] 


ARRETINE  POTTERY 


floral  patterns,  or  conventional  designs.  Then  between  these  the 
flgures  or  patterns  that  formed  the  principal  motives  were  placed, 
and  thus  a symmetrical  arrangement  was  assured.  That  this  was  the 
method  employed,  that  the  decorative  patterns  and  divisional  designs 
were  impressed  first  in  the  mould,  is  shown  by  the  fact  that  wher- 
ever patterns  and  figures  overlap,  it  is  the  figures  which  are  on  top. 

The  modelling  of  the  stamps  and  the  arrangement  of  the  deco- 
ration in  the  mould  were  clearly  the  most  important  parts  of  the 
process  of  making  the  vase.  The  other  processes,  moulding  the  shell, 
attaching  handles,  rim,  and  feet,  glazing,  and  firing,  were  purely 
mechanical.  A word,  however,  should  be  said  about  the  brilliant 
red  glaze  of  the  finished  vases,  which  has  justly  excited  admiration 
since  the  time  of  the  earliest  discoveries,  and  to  which  the  brilliant, 
coralline  effect  of  the  Arretine  wares  is  due.  The  effect  appears 
to  have  been  produced  by  the  use  of  a sort  of  varnish,  the  composi- 
tion of  which,  in  spite  of  modern  experiments,  remains  obscure.  The 
latest  investigator,  Dragendorff,  comes  to  the  conclusion  that  the 
red  color  is  due  primarily  to  the  iron  oxide  which  is  inherent  in  the 
composition  of  the  clay,  and  that  the  substance  added  in  the  varnish 
to  produce  the  brilliant  coralline  effect  was  of  an  alkaloid  nature. 
In  a series  of  experiments  with  glazed  and  unglazed  fragments,  the 
alkaloid  constituents  showed  a marked  increase  in  the  glazed  frag- 
ments, while  the  proportion  of  iron  oxide  and  other  elements  re- 
mained constant.^  The  most  remarkable  feature  of  the  glaze  is  its 

> Cf.  B.  J.  96  (1895),  pp.  I9ff.  For  earlier  analyses,  cf.  Brongniart,  TraitS  des  arts  ceramiques, 
I >,  p.  421;  Blumner,  Techndogie  und  Termindogie  der  Gewerbe  und  Kunst  bei  Griechen  und  Romern, 
II,  pp.  9lff.  The  resiUts  which  they  report  are  similar  to  those  reported  by  Dragendorff,  but  less 
definite. 


[ 18  ] 


ARRETINE  POTTERY 


thinness.  It  is  so  fine  and  so  skilfully  applied  that  it  does  not  in  the 
least  obscure  the  outline  and  the  details  of  the  modelling,  but  rather 
enhances  them. 

In  respect  to  the  decoration,  the  mould-made  vases  fall  into  two 
classes.^  In  the  first,  which  includes  especially  vases  from  the  work- 
shop of  M.  Perennius,  the  principal  decoration  regularly  consists 
of  a frieze  of  single  figures  or  groups  of  figures,  several  of  which 
are  frequently  produced  from  the  same  stamp.  The  figures  are 
always  of  the  same  height,  so  that  the  heads  are  all  on  the  same 
level,  and  this  isocephalism  is  one  of  the  most  marked  characteristics 
of  the  class.  The  ground  under  the  feet  of  the  figures  is  rarely  indi- 
cated, and  filling  ornaments  are  rare.  The  frieze  is  frequently  di- 
vided by  means  of  columns,  hermae,  thyrsuses,  or  pillars  into  small 
fields,  in  which  the  single  figures  and  groups  are  placed,  and  these 
columns  are  sometimes  connected  by  garlands  or  festoons  which 
pass  behind  the  figures.  But  the  garlands  and  festoons  are  usually 
of  a very  conventional  sort,  and  in  general  the  decorative  patterns 
are  few  in  number  and  simple  in  character.  The  favorite  subjects 
are:  Dionysiac  scenes,  such  as  dancing  maenads,  satyrs  dancing, 
drinking,  gathering  grapes  and  treading  them  out,  and  a remark- 
able type  which  is  probably  to  be  interpreted  as  a representation  of 
the  birth  of  Dionysus ; ^ dancing  priestesses  with  a peculiar  head- 
dress, the  so-called  “ kalathiskos  ” dancers ; winged  genii ; the  Sea- 
sons; Nike,  sometimes  sacrificing  a bull;  the  Muses;  Nereids  with 
the  weapons  of  Achilles;  and  banquet  scenes,  usually  of  an  erotic 
character. 

' Cj.  Dragendorff,  loc.  cit,  pp.  55ff. 

[ 19  ] 


2 Cf.  the  note  on  No.  1. 


ARRETINE  POTTERY 


The  second  class  of  mould-made  vases  is  distinguished  from  the 
fii'st  principally  by  a much  greater  use  of  ornament.  In  these  vases, 
as  a rule,  the  field  is  filled  with  floral  and  vegetable  patterns,  some- 
times conventionalized,  like  the  patterns  of  Class  I,  but  usually 
treated  with  great  naturalness.  Frequently  a wreath  of  leaves, 
naturalistically  modelled,  forms  the  principal  decoration.  Other 
favorite  motives  are  masks  and  bucrania  connected  by  festoons  of 
fruit  and  flowers,  with  birds  and  insects  hovering  about  them. 
Human  figures,  when  they  appear,  are  often  subordinated  to  the 
decoration,  frequently  appearing  as  small  statuettes ; and  when  they 
are  combined  to  form  definite  scenes,  the  treatment  is  very  different 
from  that  of  the  figures  in  the  first  class.  The  isocephalic  principle 
is  given  up,  the  ground  is  usually  indicated,  and  by  the  introduc- 
tion of  naturalistic  trees  and  plants,  the  artist  tries  to  suggest  the 
setting  of  the  scene.  The  subjects  which  are  represented  in  this 
class  are  more  varied  than  those  of  Class  I,  and  therefore  less  easy 
to  classify.  Among  the  commonest  are  dancing  figures  and  hunt- 
ing, chariot,  and  battle  scenes,  which  only  rarely  reproduce  a com- 
mon type. 

This  division  of  the  mould-made  vases  into  two  classes,  accord- 
ing to  the  nature  of  their  decoration,  has  been  made  the  basis  of 
the  catalogue  which  follows.  Class  I and  Class  II  of  the  catalogue 
correspond  to  the  two  types  that  have  been  described  in  the  preced- 
ing paragraphs.  Within  each  of  these  larger  divisions,  the  classi- 
fication is  by  subjects  and  principal  decorative  motives.  Besides 
these  two  most  important  classes,  the  collection  contains  a number 
of  specimens  of  vases  and  fragments  not  made  in  moulds.  These 

[ 20  ] 


ARRETINE  POTTERY 


have  been  grouped  together  as  Class  III,  plain  vases  and  vases 
decorated  with  separately  modelled  reliefs.  Class  IV  consists  of 
handles,  handle  ornaments,  and  single  separately  modelled  reliefs 
(which  might  have  been  attached  to  moulded  or  unmoulded  vases). 
A few  fragments  of  moulds  and  vases,  too  small  to  lend  themselves 
to  any  system  of  classification,  have  been  grouped  together  under 
the  rubric  Class  V,  miscellaneous  fragments.  A tabular  view  of  the 
five  classes  and  the  subdivisions  of  Class  I and  Class  II  is  given  in 
the  Table  of  Contents. 

Next  to  the  decoration,  the  inscriptions  form  the  most  interest- 
ing feature  of  the  Arretine  vases.  In  a few  instances,  these  have 
reference  to  the  characters  represented  on  the  vase,  following  the 
custom  which  is  so  common  in  the  work  of  the  Greek  vase  painters.^ 
But  such  cases  are  rare.  In  general,  the  inscriptions  on  the  Arre- 
tine  vases  are  in  the  nature  of  signatures;  they  record  the  name  of 
the  proprietor  of  the  pottery  where  the  vase  was  made,  or  that  of  the 
slave  who  made  it,  or  both.  They  were  produced  by  means  of 
stamps,  impressed  directly  upon  the  vase  in  the  case  of  the  plain 
wares  and  the  vases  with  separately  modelled  reliefs,  impressed  on 
the  mould  in  mould-made  vases,  so  that  the  signatures  become,  in  a 
way,  a part  of  the  decoration.  The  forms  which  the  stamps  assume 
are  very  varied.  The  commonest  types  are  rectangular  stamps 
with  an  inscription  in  one  or  two  lines  and  stamps  in  the  form  of 
the  sole  of  a foot  with  the  inscription  upon  it.  Others  have  the  form 
of  crosses,  crescents,  stars,  branches,  wreaths,  and  other  objects.^  In 

* Cf.  Not.  Scav.  1884,  pi.  8,  No.  2;  B.  J.  96,  pp.  lOff.  and  102,  p.  116. 

’ Cf.  C.I.L.  XV,  p.  703.  In  the  earliest  vases,  also,  stamps  with  simple  fabric  marks,  %oithout 
inscriptions,  appear. 


[ 21  ] 


ARRETINE  POTTERY 


the  forms  of  the  names,  the  greatest  variety  prevails.  The  name 
of  the  owner  of  the  factory,  which  appears  most  frequently,  is  some- 
times  written  in  full,  with  praenomen,  nomen,  and  cognomen  (the 
praenomen  regularly  only  as  an  initial),  sometimes  one  or  another 
of  these  parts  is  omitted.  All  varieties  are  frequently  abbreviated, 
or  even  reduced  to  simple  initials.  When  the  owner’s  name  is  writ- 
ten out,  it  regularly  appears  in  the  genitive.  Thus  the  name  of 
L.  Rasinius  Pisanus  appears  in  the  forms:  L.  Rasini  Pisani,  L. 
Rasini  Pisa,  L.  Rasin  Pisani,  L.  Rasin  Pisa,  L.  Rasin  Pis,  L.  Ras 
Pi,  L.  R.  Pis,  L.  R.  P,  L.  Rasin,  and  possibly  in  the  forms  Rasini, 
Rasin,  Rassi,  Rasi,  Rasn,  Rass,  and  Ras,  though  the  fact  that  an- 
other potter  of  the  gens  Rasinia  is  known,  makes  it  impossible  to  tell 
with  certainty  whether  these  latter  signatures  are  to  be  assigned  to 
L.  Rasinius.^  The  slave’s  name  is  sometimes  written  above  or  below 
the  name  of  the  proprietor  of  the  pottery,  sometimes  it  appears  on 
another  part  of  the  vase.  When  it  is  written  out,  it  regularly  stands 
in  the  nominative,  though  the  genitive  occasionally  occurs.  So  on 
vases  of  P.  Cornelius,  made  by  the  slave  Potus,  we  find  no  less  than 
four  combinations:^ 


This  variety  in  the  order  of  the  names,  combined  with  the  many 
abbreviations,  sometimes  leads  to  confusion.  In  such  a signature, 
for  instance,  as  ^ , it  is  possible  that  only  one  name  is  in- 

> C/.  especicdly  CJ.L.  XI,  6700,  519-551;  also  C.I.L.  II,  4970,  419  and  421;  VIII,  10479,  48; 
.Y,  8056,  299  and  8336,  3;  XII,  5686,  738;  XV,  5495  and  5496. 

» Cf.  CJ.L.  XI,  6700,  243. 


POTVS 
P.  COR 


P.  CORN  POTI 

POTVS  P.  CORN 


P.  CORN 
POTI 


[ 22  ] 


ARRETINE  POTTERY 


tended,  that  of  a slave  who  had  been  freed  and  become  master  of 
a pottery.  Such  cases  are  attested  by  a few  inscriptions,  such  as 
C • MEMM  C L- MAHE,  C.  Memm (i)  C.  I (iberti)  Mahe{tis) 

It  is  to  be  noted,  however,  that  if  all  the  inscriptions  in  which  the 
slave’s  name  follows  the  master’s  are  interpreted  in  this  way,  the 
number  of  freedmen  becomes  much  larger  than  seems  natural,  so 
that  it  is  probable  that  in  most  of  these  forms,  as  in  the  more  com- 
mon formula,  we  are  dealing  with  two  names.^  In  some  cases,  the 
addition  of  an  S (~  servus)  after  the  slave’s  name  makes  the  mat- 
ter absolutely  clear.®  Other  interesting  variations  in  the  form  of 
the  signature  are  the  occasional  addition  of  figulus  or  figulus  Arre- 
tinus  or  Arretinus  * alone,  and  signatures  of  two  or  more  potters 
or  firms  who  evidently  had  formed  a partnership.® 

The  earliest  attempt  to  treat  the  inscriptions  on  Arretine  vases 
as  a whole,  to  determine  the  location  of  the  different  potteries,  and 
to  draw  up  lists  of  the  slaves  employed  in  each  was  made  by  Gamur- 
rini  in  1859.®  Since  that  time  the  number  of  inscriptions  has 
greatly  increased  and  much  new  light  has  been  thrown  on  the  loca- 
tion of  the  different  potteries  and  their  relations  to  one  another  by 

■ Cf.  C.I.L.  XI,  6700,  386. 

» Cf.  CJ.L.  XV,  p.  702;  B.  J.  96,  p.  48  and  102,  p.  109. 

® Cf.  C.I.L.  XI,  6700,  727  and  737';  XV,  5676  {with  Dressd’s  note)  and  5694.  The  addition 
of  F fecit)  after  the  slave’s  name,  which  occurs  on  fragments  found  at  Rome  and  elsewhere,  is  not 
surely  attested  for  Arretium,  although  the  unusual  inscription  “ Venicius  fecit  h{a)ec”  occurs  (cf. 
C.I.L.  XI,  6700,  752).  On  the  question  of  the  use  of  F ( — fecit),  cf.  C.I.L.  XV,  p.  703  and  B.  J. 

102,  p.  126. 

*Cf.  C.I.L.  II,  4970,  519;  IX,  6082,  1;  X,  8056,  354;  XI,]  6700,  688;  XV,  5649  a-l.  The 
addition  of  OF  ( = officina),  which  appears  on  a number  of  Roman  vases,  does  not  seem  to  be  found  on 
genuine  Arretine  vases.  Cf.  C.I.L.  XV,  p.  702  and  B.  J.  102,  p.  126. 

‘ Cf.  C.I.L.  XI,  6700,  311  and  795;  XV,  5748. 

“ Cf.  Oamurrini,  Le  iserizioni  degli  antichi  vasi  fittili  aretini.  Rome,  1859. 

[ 23  ] 


ARRETINE  POTTERY 


excavations.  Most  of  the  inscriptions  are  now  recorded  in  the  Cor- 
pus Inscriptionum  Latinarum,  those  from  Arezzo  itself  in  Volume 
XI,  others  from  Arretine  vases  found  in  other  parts  of  the  Roman 
world  in  other  volumes.  On  the  basis  of  these  collections,  Ihm^ 
has  recently  supplemented  the  work  of  Gamurrini,  and  in  Volume 
XI  of  the  Corpus  is  published  an  interesting  map  which  shows  the 
sites  of  the  different  potteries,  so  far  as  they  can  be  determined.^ 
The  following  list  includes  the  names  of  the  potters  and  slaves 
whose  signatures  appear  on  the  vases  and  moulds  of  the  Loeh  Col- 
lection. The  slaves  have  been  grouped,  as  far  as  possible,  under 
the  masters  by  whom  they  were  employed,  and  a brief  statement 
of  the  location  of  the  pottery  is  added. 

M.  Perennius. — The  signature  of  Perennius,  the  most  famous 
of  the  Arretine  potters,  appears  at  least  fourteen  times  on  the  speci- 
mens of  the  Collection  (Nos.  1,  17,  53,  62,  76,  121,  125,  138,  157, 
177,  218,  382,  428,  503),  and  four  very  fragmentary  inscriptions 
are  also  probably  parts  of  the  name  Perennius  (Nos.  39,  120,  124, 
220).  In  three  cases  (Nos.  17,  125,  218),  the  name  is  associated 
with  the  forms  Tigrani  or  Tigran,  which  also  appear,  in  whole  or 
in  part,  on  several  fragments  (Nos.  78,  95,  139,  186,  429,  430). 
This  at  once  raises  the  difficult  question  of  the  connection  between 
the  two  forms,  which,  in  spite  of  considerable  discussion,  still  remains 
obscure.  The  facts  in  the  case  are  as  follows:  With  various  forms 
of  the  signature  of  Perennius,  there  frequently  appear  the  forms 
Tigran,  Tigra,  or  Tigr,  as  well  as  Tigrani.®  These  are  usually 

' Cf.  “Die  arretinischen  Topfereien,"  B.  J.  102,  pp.  106-126. 

\Cj.  C.I.L.  XI.  p.  1082.  » Cj.  C.I.L.  XI,  6700,  450. 


[ 24  ] 


ARRETINE  POTTERY 


interpreted  as  a slave’s  name,  Tigranes,  although  the  form  Tigrani 
(which  must  be  a genitive)  is  difficult  to  explain.  Further,  the  form 
Tigrani  or  one  of  the  shorter  variants  occurs  in  combination  with 
several  names  of  slaves  which  elsewhere  are  foimd  in  combination 
with  different  forms  of  the  signature  M.  Perenni,  and  in  one  case 
we  find  Menophil(us)  M.  Peren(ni)  Tigrani.^  These  combina- 
tions are  commonly  taken  to  mean  that  the  slave  Tigranes  was 
later  hberated,  set  up  a factory  of  his  own,  and  employed  some  of 
the  slaves  of  his  former  master.  But  it  must  be  admitted  that  a 
much  simpler  explanation  is  afforded  by  the  supposition  that  Pe- 
rennius  and  the  supposed  Tigranes  were  one  and  the  same  person, 
that  is,  that  the  master  of  the  factory  was  called  M.  Perennius 
Tigranes  (or  better  Tigranus  or  Tigranius),^  and  that  he  signed 
his  products  now  with  one  form,  now  with  another.  However  this 
may  he,  the  vases  of  Perennius  are  certainly  the  finest  products  of 
the  Arretine  factories,  going  back,  in  most  cases,  to  excellent  Greek 
models,  and  reproducing  them  with  a great  deal  of  taste.  The 
principal  workshop  of  Perennius  was  located  near  the  modern 
church  of  Santa  Maria  in  Gradi,^  and  he  also,  apparently,  pos- 
sessed a branch  establishment  at  Cincelli.^  Aside  from  the  doubt- 
ful Tigranes,  the  slaves  of  Perennius  whose  names  are  found  on 
the  pieces  of  the  Collection  are  Cerdo  (Nos.  1 and  53),  Crescens 
or  Crescent  . . . (No.  177),  and  Nicephor(us)  (No.  76).  With 
them  may  perhaps  be  associated  Bithynus,  whose  name  is  found 

1 Cf.  C.I.L.  XI,  6700,  453. 

’ Cf.  B.  J.  102,  pp.  115/.;  Rheinisches  Museum,  N.  F.  59  (1904),  p.  137. 

3 Cf.  Not.  Scav.  1883,  pp.  265^.;  1884,  pp.  S69ff.;  1894,  p.  93;  1896,  pp.  453^.;  Bull.  1884,  p.  9. 

« Cf.  Not.  Scav.  1883,  p.  269;  B.  J.  102,  p.  114. 

[ 25  ] 


ARRETINE  POTTERY 


on  two  fragments  (Nos.  135  and  451).  He  appears  several  times 
on  vases  found  at  Arezzo,  as  a slave  of  Bar  gates,  who  himself  was 
originally  one  of  the  slaves  of  Perennius,  and  who  later  (probably 
after  manumission)  set  up  an  establishment  of  his  own. 

P.  Cornelius. — Next  to  Perennius  the  most  famous  of  the 
Arretine  potters  is  Publius  Cornelius,  whose  signature  occurs  on 
no  less  than  twenty-eight  of  the  Loeb  vases  and  fragments  (Nos. 
130,  169,  170,  274,  275,  277,  291,  327,  333,  335,  394,  418,  424, 
431-440,  460-464).  Fragments  of  his  wares  have  been  found  in 
great  numbers  in  the  neighborhood  of  Cincelli,^  and  near  the  so- 
called  Ponte  a Buriano  not  far  from  Cincelli.^  He  flourished  at 
a later  time  than  Perennius,  whose  factory  at  Cincelli  he  appar- 
ently acquired, — fragments  bearing  his  name  were  found  above 
those  with  the  name  of  Perennius, — as  weU  as  the  factory  of  C. 
Telhus  near  the  Ponte  a Buriano,  and  perhaps  that  of  C.  Cispius 
at  Cincelli.®  Some  forty  names  of  slaves  associated  with  him  are 
known,  of  which  the  following  appear  on  fragments  in  the  Collec- 
tion; Antiocus  (Nos.  209,  445)  ; Faustus  (Nos.  249,  447;  cf.  the 
note  on  249)  ; Heraclida  (No.  446) ; Potus  (No.  460) ; Primus 
(Nos.  261,  292,  391,  441-443);  Rodo  (Nos.  168,  207,  444). 

Rasinius. — With  Rasinius  more  slaves’  names  are  associated 
than  with  any  other  Arretine  potter  except  P.  Cornelius.  The 
name  occurs  most  commonly  without  praenomen  or  cognomen  and 
is  often  abbreviated,  so  that  it  is  impossible  to  tell  whether  we  are 
dealing  with  the  well  known  L.  Rasinius  Pisanus,  or  with  C. 

* Cf.  supra,  pp.  Ilf.  2 Scav.  1893,  p.  140. 

• Cf.  Not.  Scav.  1893,  pp.  ISSff.;  B.  J.  96,  p.  50  and  102,  pp.  llSff. 

[ 26  ] 


ARRETINE  POTTERY 


Rasinius,  whose  name  is  attested  for  Arretium,  or  with  a totally 
different  member  of  the  gens  Rasinia.^  In  general,  the  vases  with 
Rasinius  alone  seem  earlier  than  those  with  L.  Rasinius  Pisanus, 
which  frequently  imitate  Gaulish  wares.^  They  have  been  found 
especially  in  the  neighborhood  of  the  church  of  Santa  Maria  in 
Gradi,  and  here  the  workshop  of  Rasinius  was  probably  located.® 
In  the  Loeb  Collection,  the  name  appears  seven  times,  always  with- 
out praenomen  or  cognomen  (Nos.  190,  223,  305,  306,  427,  470, 
471).  In  one  case  (No.  223),  it  is  associated  with  the  slave’s  name 
Certus,  in  another  (No.  190)  with  the  name  Mahes,  in  two  others 
(Nos.  305,  306)  with  the  name  Pantagatus. 

C.  Memmius. — Closely  connected  with  the  name  of  Rasinius  is 
that  of  C.  Memmius,  who  appears  to  have  acquired  some  of  the 
slaves  of  Rasinius.  This  is  proved  by  the  fact  that  the  slave  Mahes, 
whose  name,  in  connection  with  that  of  Rasinius,  is  noted  above, 
later  signs  himself  C.  Memm(i)  C.  l(iberti)  Mahe(tis) ; that  the 
slaves’  names  Pantagatus  and  Quartio  occur  combined  not  only 
with  Rasini,  but  also  with  Rasini  Memmi ; ^ and  that  at  least  one 
other  slave’s  name  is  followed  by  the  same  combination,  Chrestus 
Rasini  Memmi  (No.  271).®  There  are  cases  also  of  the  combina- 
tion of  the  two  names  Rasini  Memmi  on  fragments  where  the 

' A vase  found  at  Arretium  in  1897  has  the  signature  Rufio  Rasiniae,  which  still  further  com- 
plicates the  problem.  Cf.  C.I.L.  XI,  6700,  520  note  and  547  b. 

2 Cf.  DSchelette,  Les  vases  ceramiques  omes  de  la  Gaule  romaine  (Paris,  1904),  I,  pp.  llSff. 

> Cf.  B.  J.  102,  p.  119. 

‘ Cf.  for  Pantagatus  Nos.  305  and  306  (Pantagatus  Rasini)  and  C.l.L.  X,  8056,  248  and  XV, 
5514  (Pantagatus  Rasini  Memmi)-,  for  Quartio,  C.l.L.  XI,  6700,  545  and  546. 

‘ The  combinations  Pantagatus  Rasini  and  Chrestus  RasinilMemmi,  so  far  as  I am  aware,  have 
not  been  noted  before. 


[ 27  ] 


ARRETINE  POTTERY 


slave’s  name  has  been  lost,  as  on  Nos.  308  and  337-  Besides  the 
instances  already  noted,  the  name  Memmius  appears  four  and  pos- 
sibly five  times  (Nos.  74?,  236,  467-469),  in  one  case  (No.  236) 
associated  with  the  slave’s  name  Philero(s).  Remains  of  Mem- 
mius’s  workshop  are  reported  to  have  been  found  in  laying  founda- 
tions on  the  Via  Guido  Monaco,  near  the  church  of  San  Francesco.^ 

Annius. — Of  the  three  Annii,  whose  pottery  also  seems  to  have 
been  situated  near  the  church  of  San  Francesco,^  the  name  of  C. 
Annius  appears  on  three  fragments  in  the  Collection  (Nos.  237, 
449,  466),  and  probably  is  to  be  supplied  on  a fourth  (No.  235). 
Anni  alone  appears  on  one  fragment  (No.  269).  In  four  of  these 
instances,  the  signature  occurs  in  connection  with  that  of  a slave 
who  is  found  elsewhere  in  connection  with  C.  Annius,  namely, 
Chrestus  (No.  235),  Crescens  (No.  449),  Phileros  (No.  269),  and 
Rufio  (No.  466). 

Tellius. — Of  this  potter,  whose  workshop  near  the  Ponte  a 
Buriano  was  later  acquired  by  P.  Cornelius,®  the  Collection  con- 
tains two  fragmentary  signatures  (Nos.  231,  366). 

C.  Gavius,  L.  Gellius,  C.  Licinius  Fuscus. — Each  of  these 
potters  is  represented  by  a single  signature  (Nos.  448,  455,  and 
456 — the  last  two  inside  the  sole  of  a foot).  The  workshop  of 
Gavius  was  at  Cincelli,^  that  of  Licinius  probably  in  the  same 
region.  The  workshop  of  Gellius  is  placed  by  Gamurrini  in  the 
neighborhood  of  the  Piazza  S.  Agostino,  but  perhaps  without  suf- 
ficient evidence.® 

■ C/.  Ann.  1872,  p.  293;  Not.  Scav.  1892,  p.  339;  1894,  p.  119;  B.  J.  102,  p.  120. 

* Gamurrini,  p.  28;  B.  J.  102,  p.  116.  ’ Cf.  supra,  p.  26.  *Cf.  B.  J.  102,  p.  124. 

• Cf.  Gamurrini,  p.  34;  B.  J.  102,  p.  123. 

[ 28  ] 


ARRETINE  POTTERY 


C.  Umbricius  Philologus. — A single  fragment  with  the  sig- 
nature Philologi  (No.  472)  is  probably  to  be  assigned  to  C.  Um- 
bricius Philologus,  of  whose  pottery  some  remains  were  found  in 
the  Via  Guido  Monaco,  not  far  from  those  of  the  workshop  of 
C.  Memmius.^ 

Calidius  Strigo. — The  name  Sinistor,  which  appears  in  a 
fragmentary  form  on  No.  206,  is  that  one  of  the  slaves  of 
Calidius  Strigo,  whose  pottery  was  discovered  in  1492  near  the 
Ponte  delle  Carciarelle.^ 

Finally,  mention  should  be  made  of  the  three  slaves  Chrestus, 
Pantagatus,  and  Phileros,  whose  names  occur  on  Nos.  450,  227, 
and  348  respectively.  Each  of  these  is  a common  name  in  more 
than  one  factory,  so  that  in  the  absence  of  the  potter’s  name,  it  is 
impossible  to  assign  them  a place.  The  possibilities  are  discussed 
in  the  descriptions  of  the  fragments.^ 

The  date  of  the  Arretine  wares  can  be  determined,  at  least 
approximately,  from  a number  of  bits  of  evidence.  Thus  the  fact 
that  the  slaves’  names  on  the  vases  are  largely  Greek  proves  that 
the  potteries  cannot  have  flourished  before  the  Roman  conquest  of 
Greece  in  146  b.c.  But  this  argument  is  of  very  little  practical 
value,  as  it  furnishes  only  a terminus  post  quern,  and  other  evi- 
dence points  to  a considerably  later  date  for  the  beginning  of  the 
manufacture.  The  forms  of  the  letters  of  the  inscriptions,  also,  are 
not  especially  helpful;  they  show  only  that  the  vases  were  made 
between  100  b.c.  and  100  a.d.  More  definite  inferences  can  some- 

> Cf.  Ann.  1872,  p.  293;  Not.  Scav.  1894,  p.  118.  • Cf.  supra,  p.  11. 

*For  a few  inscriptions,  of  which  the  reading  or  the  meaning  is  uncertain,  see  the  notes  on  Nos. 
90,  4,92,  and  457. 


[ 29  ] 


ARRETINE  POTTERY 


times  be  drawn  from  the  circumstances  imder  which  vases  and  frag- 
ments have  been  found.  Thus  a vase  from  Cincelli,  signed  by  the 
slave  Rodo,  has  as  a part  of  its  decoration  the  imprint  of  a coin 
with  the  head  of  the  young  Octavius,  and  the  inscription  Augus- 
tus.^ At  Mount  Beuvray,  near  Autun,  the  site  of  the  Aeduan 
town  of  Bibracte,  fragments  with  the  signatimes  of  several  Arre- 
tine  potters  were  found.  From  this  fact  Dragendorff  argued  that 
these  vases  must  have  been  imported  into  Gaul  before  the  destruc- 
tion of  Bibracte  by  Caesar,  and  that  the  earlier  Arretine  fabrics 
therefore  went  back  to  the  first  half  of  the  first  century  b.c.^ 
Excavations  at  Moimt  Beuvray  have  shown,  however,  that  a set- 
tlement existed  on  the  hill  until  the  last  years  of  the  first  cen- 
tury B.C.,  when  the  town  was  transferred  to  the  plain  by  the 
Emperor  Augustus  and  received  the  name  of  Augustodunum, 
preserved  in  the  modern  Autun.®  The  fragments,  therefore,  prob- 
ably are  rehcs  of  the  later  settlement,  not  of  the  town  destroyed 
by  Caesar.^  Finally,  an  even  more  definite  date  for  the  begin- 
ning of  the  manufacture  has  been  proposed  by  Oxe,  who  bases 
his  argument  on  the  manner  in  which  the  names  of  slaves  and 
masters  are  combined  in  the  inscriptions.  Arguing  principally 
from  datable  inscriptions  on  stone,  Oxe  shows  that  none  of  the 
combinations  that  appear  on  Arretine  vases  is  earlier  than  the  last 

> Cf.  Not.  Scav.  1894,  p.  49.  » Cf.  B.  J.  96,  p.  50. 

’ Cf.  BuUiot,  Fouilles  de  Mont  Beuvray  (Autun,  1899) ; C.I.L.  XIII,  p.  402.  From  the  coins 
found  at  Mount  Beuvray,  De  BarthUemy  argued  (Rev.  Arch.,  1870-71,  p.  27)  that  the  settlement  was 
not  transferred  to  the  plain  until  5 or  6 B.C.,  and  unth  this  dating  the  latest  investigator,  Decheletie, 
agrees.  Cf.  Decheletie,  Les  fouilles  du  Mont  Beuvray  de  1897  o 1901  (Paris,  1904),  pp.  118^. 

‘ Cf.  Oxe,  “Zur  alieren  Nomenklatur  der  rbmischen  Sklaven,”  Rheinisches  Museum,  N.  F.  59 
(1904),  pp.  130/. 


[ 30  ] 


ARRETINE  POTTERY 


years  of  the  Roman  Republic.  The  majority  are  similar  to  formulae 
in  use  during  the  earher  years  of  the  Empire.  The  beginning  of 
the  manufacture  of  the  typical  Arretine  wares  with  brilliant  red 
glaze,  therefore,  may  be  placed  some  time  in  the  decade  between 
40  and  30  b.c.^  As  to  the  end  of  the  manufacture,  the  finds  at 
Pompeii  afford  some  evidence.  Most  of  the  examples  of  Arretine 
vases  that  have  been  found  there  are  distinctly  late  and  degenerate 
in  style,  a proof  that  by  the  year  79  a.d.  the  Arretine  ware  was  in 
full  decadence.  Roughly,  therefore,  the  century  between  40  b.c. 
and  60  a.d.  may  be  regarded  as  the  flourishing  period  of  the  Arre- 
tine potteries.  The  finest  products  are  works  of  the  Augustan  Age. 

With  these  dates,  the  style  of  the  Arretine  vases  agrees  per- 
fectly. Even  a little  study  of  any  considerable  collection  of  Arre- 
tine ware  is  sufiicient  to  show  the  mixed  character  of  the  style. 
Individual  figures  not  infrequently  are  distinctly  reminiscent  of 
Greek  work  of  the  fifth  century  b.c.  ; ^ others  recall  types  which 
did  not  become  common  imtil  the  fourth  century;  ^ and  others  still 
seem  to  be  drawn  from  the  art  of  the  Hellenistic  Age.  Again,  on 
the  vases  of  Class  I,  as  has  frequently  been  pointed  out,  there  is  a 
whole  series  of  figures  which  are  exact  replicas  of  figures  that 
appear  on  the  so-called  Neo- Attic  reliefs,^  and  many  others,  though 
they  cannot  be  exactly  paralleled  in  ISTeo- Attic  work,  exhibit  simi- 
lar tendencies.  Almost  all  the  figures  of  this  sort  are  characterized 
by  a stiff,  archaistic  treatment  of  the  drapery  and  by  graceful,  but 
rather  aff’ected,  poses.  The  vases  of  the  second  class,  with  their 

* Cf.  OxS,  loc.  cit.,  pp.  127^.;  Dragendorff,  B.  J.,  113,  p.  252.  * Cf.  Nos.  77,  80,  81,  82. 

* Cf.  No.  142.  * Cf.  Hauser,  Die  neuattischen  Reliefs  (Stuttgart,  1889),  pp.  110/. 

[ 31  ] 


ARRETINE  POTTERY 


marked  fondness  for  naturalistic  ornament  and  pictorial  back- 
grounds, frequently  recall  the  so-called  Hellenistic  reliefs/  The 
great  use  of  scrolls  of  conventionalized  foliage  finds  its  closest 
analogy  in  Roman  work  of  the  early  Empire.  Such  a combination 
of  elements  drawn  from  many  sources  is  hardly  possible  before 
the  last  days  of  the  Roman  Republic  and  the  early  years  of  the 
Empire.  The  close  parallelism  between  the  decoration  of  the  Arre- 
tine  wares  and  that  of  the  monuments  of  the  Augustan  Age,  espe- 
cially the  Ara  Pads  Augustae,  has  been  pointed  out  by  Hragen- 
dorfF.^  On  the  other  hand,  there  is  no  trace  in  the  Arretine  vases 
of  the  “ illusionist  ” style  which  came  in  after  the  Augustan  Age,® 
— a proof  that  the  types  of  the  potters’  repertoire  were  fixed  before 
the  introduction  of  the  illusionist  style. 

That  the  Arretine  potters  themselves  invented  the  mixed  style 
which  we  find  in  their  products  is  highly  improbable.  It  is  much 
more  likely  that  they  borrowed  their  stock  of  decorative  types  from 
the  same  source  from  which  they  took  the  forms  of  their  vases,  that 
is,  from  vessels  of  gold  and  silver  and  other  metals.  That  the 
forms  go  back  to  metal  originals  has  long  been  recognized.  It  is 
proved  by  the  thin  walls  of  the  great  majority  of  the  vases,  by  the 
sharp  and  angular  profiles  of  many  shapes,  particularly  the  flat 
plates,  and  by  the  forms  of  the  handles,  which  are  often  exactly 
similar  to  handles  of  silver  and  bronze  found  in  many  parts  of  the 
Roman  world.^  For  the  decorative  motives  and  the  whole  scheme 

' Cj.  Schreiher,  Die  hdlenistischen  Reliefbilder.  Leipzig,  1894.  ^ Cj.  B.  J.  103,  pp.  87-109. 

’ Cf.  Wickhoff,  Roman  Art  {translated  by  Mrs.  S.  A.  Strong,  New  York,  1900),  pp.  ISff. 

* Cf.  the  note  on  No.  473. 


[ 32  ] 


ARRETINE  POTTERY 


of  the  decoration,  many  analogies  can  be  found  among  the  silver 
vases  from  Bernay,  from  Hildesheim,  and  from  Bosco  Reale, ^ and 
the  clearness  and  delicacy  of  the  designs  constantly  suggest  the 
work  of  the  goldsmith  and  the  silversmith.  The  analogy  of  the 
late  Greek  vases  with  decoration  in  relief,  also,  such  as  the  “ Mega- 
rian  ” bowls,  and  the  “ Calenian  phialae,”  which  were  certainly 
copied  from  metal  prototypes,  points  in  the  same  direction.^  For 
all  these  reasons  it  seems  practically  certain  that  the  Arretine  vases 
were  intended  to  serve  as  less  expensive  substitutes  for  vessels  of 
gold  and  silver  and  bronze,  and  that  they  reproduce  very  closely 
the  decoration  of  such  vessels.  It  is  not  at  all  impossible  that 
single  figures,  and  perhaps  even  whole  compositions  were  in  some 
cases  modelled  directly  from  metal  prototypes.  Pliny,  in  his  brief 
account  of  silver  chasing,  speaks  of  a certain  Pytheas,  who  “ made 
small  drinking  cups  in  the  form  of  cooks,  called  magiriscia,  of 
which  it  was  impossible  to  take  a cast,  so  liable  to  injiuy  was  their 
delicate  chasing,”  — a passage  which  implies  that  the  practice  of 
making  casts  from  silver  vases  for  the  purpose  of  reproducing  them 
in  less  valuable  materials  was  a common  one.  If  this  is  true,  these 
humble  products  of  ceramic  art  gain  immensely  in  value,  for  with 
their  help  we  can  do  much  to  reconstruct  the  form  and  the  decora- 
tion of  that  wealth  of  gold  and  silver  vessels  which  evidently  ex- 

‘ Cf.  the  notes  on  Nos.  214,  223,  305,  313. 

2 The  earliest  Arretine  wares,  like  the  “Megarian  ” bowls  and  the  “Calenian  -phialae,”  are  covered 
-with  black  glaze,  possibly  with  the  intention  of  rendering  the  aprpearance  of  the  vase  still  closer  to  that 
of  its  metallic  prototype.  But  this  soon  gave  way  to  the  red  glaze,  which  remained  throughout  the  period 
of  the  Arretine  potteries  a fixed  featwre  of  their  produals.  That  the  change  was  not  an  invention  of 
the  Arretine  potters,  but  had  been  made  before  by  their  Greek  predecessors,  is  shown  by  Dragendorff, 
B.  J.  96,  pp.  23-40.  3 Cf.  Pliny,  N.  H.  33,  157. 


[ 33  ] 


ABRETINE  POTTERY 


isted  in  Italy  in  the  early  days  of  the  Roman  Empire,  and  of  which 
the  finds  at  Bernay,  at  Hildesheim,  and  at  Bosco  Reale  have  given 
us  hardly  more  than  tantalizing  suggestions.  Better,  perhaps,  than 
any  other  sort  of  Roman  work,  the  Arretine  vases  show  how  the 
great  store  of  beautiful  and  graceful  forms  evolved  through  long 
centm’ies  by  the  artists  of  Greece,  even  when,  in  the  hands  of  the 
Romans,  they  had  come  to  be  used  in  an  almost  purely  decorative 
fashion,  still  retained  much  of  the  grace  and  charm  that  were  in- 
herent in  all  the  products  of  Greek  genius. 

On  the  other  hand,  it  is  hardly  possible  to  study  any  consider- 
able collection  of  Arretine  vases  without  being  struck  by  the  evi- 
dent similarities  between  the  decorative  motives,  particularly  the 
garlands  of  fruit  and  flowers,  and  those  employed  by  many  of  the 
artists  of  the  Renaissance.  This  is  an  aspect  of  the  study  of  Roman 
pottery  which  can  only  be  touched  on  here,  but  it  suggests  an 
interesting  field  of  inquiry  for  students  of  Renaissance  and  later 
art.  It  is,  of  course,  well  known  that  the  Renaissance  painters  and 
sculptors  drew  their  inspiration  very  largely  from  the  monuments 
of  antiquity  which  they  saw  about  them,  especially  from  Roman 
sarcophagi  and  marble  reliefs  with  their  elaborate  floral  ornamenta- 
tion. In  view  of  the  enthusiasm  with  which  Ser  Ristoro  speaks  of 
the  earliest  finds  of  Arretine  vases,  one  may  well  ask  whether  these 
less  important  relics  of  antiquity  may  not  also  have  played  a part 
in  the  development  of  Italian  art.  The  resemblances  between  the 
garlands  of  the  Arretine  bowls  and  those  used  by  artists  like 
Ghirlandajo  and  the  Robbias  are  certainly  striking,  and  closer 
study  would  probably  reveal  many  analogies  that  do  not  appear 

[ 34  ] 


ARRETINE  POTTERY 


at  first  sight.  If  such  a connection  could  be  proved,  the  Arretine 
pottery  would  gain  a new  importance,  as  one  of  the  channels 
by  which  the  inheritance  of  antiquity  was  handed  down  to  mod- 
ern times. 


[ 35  ] 


NOTE 


All  measurements  are  stated  in  centimeters  and  tenths  of  centi- 
meters. For  most  of  the  numbers  no  measurements  are  given; 
the  dimensions  of  the  fragments  can  be  calculated  from  the  plates, 
where  the  reproductions  are  reduced  to  one  half  the  size  of  the 
original. 

Moulds  and  fragments  are  described  from  casts,  and  all  the 
plates  have  been  made  from  photographs  of  casts.  Plates  I-VIII 
are  devoted  to  complete  or  nearly  complete  moulds.  Plates  IX-XV 
to  fragments  of  moulds,  and  Plates  XVI-XXIII  to  fragments  of 
vases. 

For  a number  of  common  patterns,  conventional  names  have 
been  adopted,  as  follows: 

VVVVV^  conventional  laurel  leaf  pattern  (cf.  Plate  X,  No.  85). 

calyx  ornament  (cf.  Plate  XIV,  No.  353). 

CT rr/ rrjx>  pointed  staff  with  spirals  (cf.  Plate  XIII,  No.  230). 
<T?T1 1 Ml  pointed  staff  with  rings  (cf.  Plate  XV,  No.  351). 

pointed  staff  with  cross-hatching  (cf.  Plate  VIII,  Nos. 

305,  306). 

flower  palmette  (cf.  Plate  XIII,  No.  228). 

No  attempt  has  been  made  in  the  descriptions  to  reproduce  the 
forms  of  the  inscriptions,  which,  with  very  few  exceptions,  are  ex- 
actly similar  to  forms  already  noted.  For  all  the  more  important 
specimens,  the  forms  of  the  letters  can  be  seen  in  the  plates,  and 
throughout  the  Catalogue  references  are  given  to  the  Corpus  In- 
scriptionum  Latinarum  (C.I.L.),  where  the  forms  are  recorded. 


CATALOGUE 


CLASS  I 


(a)  Bieth  of  Dionysus 
Complete  Mould 

1.  (Plate  I).  Mould  for  a bowl  of  medium  size.  Put  to- 
gether from  three  fragments,  but  complete  except  for  chipping  at 
the  edges  of  the  breaks.  Diameter,  13.7.  Height,  9.2. 

Almost  the  entire  surface  is  occupied  by  a single  range  of  fig- 
ures, the  lower  field  being  very  narrow  and  filled  with  a simple 
band  of  conventional  laurel  leaf  pattern.  Aside  from  this,  the  deco- 
rative patterns  are : — -below  the  lower  field,  a plain  moulding  and  a 
row  of  bosses;  between  the  upper  and  the  lower  fields,  a plain 
moulding;  near  the  top  of  the  upper  field,  a conventional  laurel 
leaf  pattern;  above  the  upper  field,  a band  of  rosettes  and  a plain 
moulding.  The  arrangement  of  the  figmes  in  the  principal  field 
is  unusual,  in  that  there  is  no  division  into  small,  separate  fields. 
There  are  three  columns  of  the  usual  sort,  but,  except  in  one  in- 
stance, they  do  not  indicate  divisional  points  m the  design.  The 
description  begins  with  the  column  which  seems  to  mark  a break 
in  the  design  and  runs  from  left  to  right. 

(a)  At  the  left,  a rather  squat  column  occupies  about  half  the 
height  of  the  field.  The  lower  part  (about  one-third)  of  the  shaft 
is  plain,  except  for  the  indication  of  two  plant  stems  or  blades  of 
grass  springing  from  the  ground,  but  on  the  upper  part  four  shallow 

[ 39  ] 


ARRETINE  POTTERY 


channels  are  indicated,  in  conformity  with  the  common  Roman 
custom  of  channeling  only  the  upper  part  of  a pillar  or  column. 
Above  the  shaft  is  a capital,  consisting  of  three  simple  mouldings 
— the  middle  one  broad  and  reminiscent  of  a Doric  echinus-topped 
by  two  volutes  and  a central  ornament,  apparently  inspired  by 
Corinthian  models.  Above  the  colmnn  and  resting  on  it  is  a tall 
vase  of  the  “ loutrophoros  ” type,  with  ribbed  body,  slender  neck 
and  handles,  and  a cover,  which  overlaps  the  laurel  leaf  pattern  at 
the  top  of  the  field.  At  the  right  of  the  column,  a tambourine 
hangs  from  the  laurel  leaf  pattern.  Beyond  this  is  a group  repre- 
senting the  sacrifice  of  a pig — at  the  left,  a woman,  who  holds  the 
pig  by  the  legs,  at  the  right,  a youthful  satyr,  who  cuts  the  pig’s 
throat  with  a large  knife.  The  female  figure  is  fully  draped  in  a 
long,  sleeved  chiton ; her  hair  is  confined  by  a net  or  veil.  She  leans 
forward  and  grasps  the  pig’s  forelegs  with  her  right  hand  and 
his  hind  legs  with  her  left.  The  satyr  is  nude.  He  also  bends 
forward  over  his  raised  right  knee,  against  which  he  holds  the 
pig’s  head  with  his  left  hand.  Blood  flows  from  the  pig’s  neck 
into  a large  bowl  set  on  the  ground  between  the  two  figirres.  Above 
the  pig,  a flower  (or  a cymbal?)  hangs  from  the  laurel  leaf  pat- 
tern and  behind  the  satyr  hangs  a fillet. 

{b)  A woman  in  front  view  turns  her  head  to  look  toward  the 
satyr  who  is  sacrificing  the  pig.  She  is  richly  dressed  in  a sleeve- 
less chiton  and  carefully  draped  himation.  In  her  left  hand  she 
carries  an  oenochoe,  her  right  is  raised  and  steadies  a liknon  filled 
with  fruits  which  she  carries  on  her  head.  The  mould  is  injured 
here,  so  that  the  contents  of  the  liknon  are  not  clear.  It  is  possible 

[ « ] 


ARRETINE  POTTERY 


that  a phallus  as  well  as  fruits  is  included.  Then  comes  a bearded 
satyr  walking  toward  the  right.  He  wears  a loin-cloth.  Over  his 
left  shoulder  he  carries  a wine-skin,  holding  the  neck  in  his  left 
hand,  his  right  hand  is  raised  and  holds  a torch.  In  front  of  him 
walks  a shorter  bearded  figure,  carrying  a small  child  in  his  arms. 
He  wears  a loin-cloth,  and  a mantle  falling  from  his  shoulders  is 
summarily  indicated.  The  snub  nose  and  the  baldness  of  this  figure 
make  its  interpretation  as  Silenus  extremely  probable.  The  child 
has  a veil  (or  part  of  its  dress)  drawn  up  over  its  head.  In  front 
of  this  group  two  flowers  on  long  stems  rise  from  the  ground,  and 
beyond  them  is  a column  supporting  a vase  similar  in  every  detail 
to  the  column  and  the  vase  on  (a) . 

(c)  The  first  figure  is  that  of  a woman,  almost  completely 
hidden  behind  a curtain,  represented  as  if  it  were  suspended  from 
the  laurel  leaf  pattern  at  the  top  of  the  field.  Only  the  head,  the 
shoulders,  and  the  arms  of  the  figure  are  visible.  The  woman  looks 
back  toward  the  last  group  on  (b)  in  a way  which  shows  that  the 
column  and  the  vase  are  not  conceived  as  separating  two  distinct 
scenes.  Her  hair  is  confined  by  a veil.  In  her  hands  she  holds  a 
pair  of  cymbals  which  she  is  playing.  The  next  figure  is  that  of 
a woman  facing  toward  the  right  and  laying  a wreath  upon  an 
altar,— made,  apparently,  with  the  same  stamp  as  the  first  figure 
on  (a).  The  wreath  has  the  form  of  the  conventional  laurel  leaf 
pattern.  Two  sides  of  the  altar  are  represented,  with  an  interesting 
attempt  at  perspective  drawing  which  has  numerous  analogies  in 
Hellenistic  and  Roman  reliefs.  It  is  rectangular  in  form,  with 
mouldings  at  top  and  bottom  and  projections  at  the  angles.  Above 

[ 41  ] 


ARRETINE  POTTERY 


it  (apparently  conceived  as  standing  behind  it)  is  a column  of  the 
same  form  as  the  columns  on  (a)  and  (b),  supporting  a small 
figure  of  Priapus.  The  lower  part  of  the  column  with  the  two 
blades  of  grass  on  it  was  not  quite  obliterated  by  the  later  impres- 
sion of  the  stamp  with  the  altar.  The  Priapus  is  represented  in  a 
kneeling  posture,  with  raised  right  hand,  and  with  a cornucopia 
held  in  the  left  arm.  Between  this  figure  and  that  of  the  woman, 
a Pan’s  pipe  hangs  from  the  laurel  leaf  pattern. 

(d)  The  first  figure  is  that  of  a bearded  satyr  seated  on  a rock 
and  playing  a double  flute.  He  faces  toward  the  left,  i.  e.,  toward 
the  altar  of  (c),  and  is  evidently  thought  of  as  closely  connected 
with  the  woman  who  offers  the  garland.  His  only  dress  is  a loin- 
cloth. His  left  foot  is  set  back  close  to  the  rock  on  which  he 
sits,  his  right  foot  is  raised  and  rests  on  a scabellum,  with  which 
he  is  keeping  time  to  his  flute  playing.  Above  the  figure,  a tam- 
bourine hangs  from  the  laurel  leaf  pattern.  Behind  the  satyr, 
turning  her  head  to  look  at  him,  is  a woman  exactly  similar  to 
the  third  figure  on  (a),  except  that  her  raised  left  hand  supports 
a dish  with  fruit  and  flowers;  the  entire  figure,  except  the  arm 
and  the  dish,  was  impressed  in  the  mould  with  the  same  stamp 
as  the  figure  on  (a).  At  each  side  of  this  figure,  three  flowers  on 
long  stems  spring  from  the  ground.  Above,  pendants  hang  from 
the  laurel  leaf  pattern — at  the  left,  a tambourine  and  a fillet,  at  the 
right,  a flower  (?).  In  the  narrow  space  between  the  laurel  leaf 
pattern  and  the  band  of  rosettes  at  the  top  of  the  field  are  the 
signatures;  at  the  left,  Cerdo,  at  the  right,  Perenni. 

All  the  figures  except  the  satyr  with  the  scabellum  have  been 

[ *2  ] 


ARRETINE  POTTERY 


noted  before  on  fragments  of  moulds  and  vases  found  at  Arezzo 
(cf.  Pasqui,  Not  Scav.  1884,  pp.  370f.,  Gruppo  II;  Dragendorff, 
B.  J.  96,  p.  61).  Dragendorff  calls  the  subject  “ Dionysisches 
Opfer.”  The  recovery  of  a complete  mould  seems  to  show  that 
the  subject  is  rather  a scene  connected  with  the  mysteries  of  Dio- 
nysus. Many  of  the  details  are  such  as  regularly  appear  in  repre- 
sentations of  mystic  initiations  and  other  mystic  ceremonies, — the 
veiling  of  the  child,  the  figure  behind  the  curtain,  the  torch  in  the 
hands  of  the  satyr  behind  Silenus.  The  sacrifice  of  a pig  as  a 
means  of  purification  is  a familiar  feature  of  scenes  of  initiation. 
Above  all,  the  liknon,  or  winnowing  basket,  on  the  head  of  the 
woman  on  (b)  suggests  a connection  with  mystic  rites.  As  a symbol 
of  purification,  the  liknon  frequently  appears  in  scenes  of  initiation, 
and  often,  as  here,  it  contains  fruits  and  other  symbols  of  fertihty. 
It  has  a special  connection  with  Dionysus,  since  it  was  in  a liknon 
that  the  infant  Dionysus,  whose  annual  rebirth  symbolized  the 
coming  of  spring,  was  believed  to  have  been  cradled.  At  Delphi, 
Dionysus  was  called  Liknites,  with  reference  to  this  phase  of  his 
worship,  and  Plutarch  records  that  “ the  Hosioi  make  a secret 
sacrifice  in  the  sacred  precinct  of  Apollo  when  the  Thyiades  raise 
up  Liknites  ” (cf.  Hesych.  s.  v.  AucviT7)<i ; Plutarch,  De  Iside  et 
Osiride,  35;  and  on  the  whole  subject  of  Dionysiac  mysteries  and 
initiatory  rites,  J.  E.  Harrison,  Prolegomena  to  the  Study  of  Greek 
Religion,  especially  pp.  518-535) . All  this  suggests  that  we  have 
here  some  scene  from  mysteries  of  Dionysus. 

But  it  is  possible,  perhaps,  to  go  further  than  this  and  to  iden- 
tify the  subject  as  a representation  of  the  birth  of  Dionysus  itself, 

[ 43  ] 


ARRETINE  POTTERY 


a reflection,  it  may  be,  of  the  actual  ceremonies  connected  with 
the  celebration  of  the  rebirth  of  the  god.  There  can  he  little  doubt 
that  the  aged  figure  who  carries  the  veiled  child  is  Silenus.  But  a 
child  in  the  arms  of  Silenus  can  hardly  be  any  other  than  Dionysus 
himself,  as  is  abmidantly  proved  by  the  numerous  marble  groups 
representing  the  baby  Dionysus  in  the  arms  of  Silenus,  of  which 
the  best  known  is  in  the  Louvre  (cf.  Brunn-Bruckmann,  Denk- 
mdler^  No.  64;  Clarac,  Musee  de  Sculpture,  pi.  333,  No.  1556). 
On  a vase  in  St.  Petersburg,  also,  Silenus  is  represented  handing 
over  to  a woman  a small  child  who  is  clearly  characterized  as  Dio- 
nysus by  the  thyrsus  which  he  holds  in  his  left  arm  (cf.  Stephani, 
Die  V asensammlung  der  kaiserlichen  Ermitage,  No.  2007;  publ. 
Compte  Rendu,  1861,  pp.  11-32,  pi.  2).  It  seems  probable,  there- 
fore, that  we  have  in  this  scene  a representation  of  the  birth  of 
Dionysus,  inspired  by  some  of  the  ceremonies  connected  with  the 
mysteries  of  the  god,  but  treated  in  the  idealizing  spirit  which  is 
so  characteristic  of  Greek  art.  The  original  was  probably  a silver 
vase  dating  from  the  Hellenistic  period.  The  group  representing 
the  sacrifice  of  a pig  is  found  on  other  monuments;  cf.  Museo 
Borhonico,  XIII,  pi.  12  (marble  disc  in  Naples).  For  similar 
sacrificial  groups  connected  with  scenes  of  initiation,  cf.  the  monu- 
ments published  by  Ersilia  Caetani-LovateUi,  Bulletino  Comunale, 
7 (1879),  pp.  5-18,  pi.  1-5. 

The  interpretation  as  the  birth  of  Dionysus  was  first  suggested 
by  ISIr.  A.  ISI.  Warburg.  For  the  inscription,  cf.  C.I.L.  XI,  6700, 
437  e. 


[ 44  ] 


ARRETINE  POTTERY 


(b)  Dancing  Maenads 
Fragments  of  Moulds 

2.  (Plate  IX).  Maenad  dancing  to  left.  Her  chiton  has 
become  unfastened  at  the  left  shoulder,  so  that  her  left  shoulder 
and  breast  are  bare.  A heavy  cloak  is  thrown  over  the  right  shoul- 
der and  flies  out  behind  in  graceful  folds.  The  right  arm  is  raised 
and  bent  at  the  elbow,  and  the  right  hand,  which  is  visible  behind 
the  head,  grasps  a short  dagger.  The  left  forearm  is  badly  attached 
to  the  body,  but  otherwise  the  figure  is  extremely  graceful  and 
shows  careful  attention  to  the  folds  of  the  drapery.  Above,  a band 
of  rosettes,  enclosed  in  hatched  rings;  below,  a bit  of  laurel  leaf 
pattern. 

The  type  is  one  that  appears  frequently  in  “ Neo-Attic  ” reliefs; 
cf.  Hauser,  Die  neuattischen  Reliefs,  pi.  2,  No.  25.  The  most  con- 
spicuous example  is  the  famous  Sosibios  vase  in  the  Louvre,  pub- 
lished by  Clarac,  Musee  de  Sculpture,  pi.  126,  No.  332,  and  pi.  130. 
Other  instances  are  noted  by  Hauser  in  his  list  of  monuments,  pi. 
4.  The  only  difference  between  these  reliefs  and  the  figure  on  No. 
2 is  that  the  maenad  of  the  reliefs  regularly  holds  in  her  left  hand 
the  hind  quarters  of  a kid.  The  type  has  been  thought  to  be  a dis- 
tant reflection  of  the  famous  maenad  of  Scopas,  but  it  probably 
goes  back  to  an  earlier  type;  cf.  Treu  in  Melanges  Perrot,  p.  317. 
In  No.  2,  the  maker  of  the  mould  used  another  stamp  for  the  left 
forearm  of  the  figure  than  that  which  was  usually  associated  with  it. 

3.  (Plate  IX).  Maenad  dancing  to  left.  She  wears  a thin 
chiton  which  flies  out  behind  in  graceful  folds.  The  left  breast 

[ 45  ] 


ARRETINE  POTTERY 


and  shoulder  are  bare.  The  head  is  thrown  back  in  ecstasy.  The 
right  arm  was  extended,  as  is  shown  by  the  thyrsus  which  was 
evidently  held  in  the  right  hand,  the  left  arm  is  thrown  out  behind 
and  holds  a tambourine.  This  and  the  forearm  appear  to  have 
been  added  by  means  of  a separate  stamp ; the  forearm  is  out  of  all 
proportion  to  the  rest  of  the  figure.  In  general,  however,  the  work 
is  very  careful;  the  soles  and  the  thongs  of  the  sandals  are  indi- 
cated, and  the  flying  ends  of  the  fillet  by  which  the  hair  is  confined 
are  gracefully  rendered.  Above,  a band  of  hatched  rings;  below,  a 
plain  moulding.  At  the  right,  a trace  of  a second  figure. 

4.  (Plate  IX).  Maenad  dancing  to  right.  The  figure  is 
broken  just  below  the  knees,  but  enough  is  preserved  to  show  the 
pose.  The  maenad  moves  toward  the  right,  with  head  thrown  back 
and  gaze  directed  upward.  Her  loose  chiton  is  girded  at  the  waist 
and  fastened  on  the  right  shoulder,  but  leaves  the  whole  right  side 
uncovered.  In  her  hands  she  holds  a tympanum. 

A similar  figure,  but  facing  left  instead  of  right,  is  publ.  Gaz. 
Arch.  1880,  pi.  33,  No.  4 — from  a sketch  in  a ms.  of  M.  Artaud, 
now  in  the  Museum  of  Lyons,  said  to  be  taken  from  a mould  found 
at  Arezzo;  the  signature  Bargate(s)  makes  the  Arretine  prove- 
nance certain;  cf.  C.I.L.  XI,  6700,  451  Cf.  also  Fabroni,  pi. 
1,  No.  5.  The  type  is  similar  to  Hauser’s  type  24  (cf.  Die  neu- 
attischen  Reliefs,  pi.  2). 

5.  (Plate  IX).  Maenad  dancing  to  left.  The  figure  is  in 
very  low  relief,  and  is  broken  at  the  knees,  but  in  spite  of  this,  it 
is  one  of  the  finest  figures  in  the  Collection.  The  maenad  wears  a 
thin  chiton,  fastened  over  both  shoulders  and  thrown  over  the  right 

[ « ] 


ARRETINE  POTTERY 


arm.  In  her  right  hand  she  carries  a thyrsus  bound  with  a fillet; 
her  left  arm  is  stretched  out  behind,  and  the  left  hand  may  have 
grasped  a corner  of  her  dress,  A garland  is  thrown  over  the  right 
shoulder,  and  passes  obliquely  across  the  body.  The  decorative 
framework  consists  of  a laurel  leaf  pattern  which  passed  around 
the  vase  on  a level  with  the  heads  of  the  figures,  and  had  small 
bits  of  laurel  leaf  pattern  dependent  from  it  like  festoons.  Above, 
a waved  line  and  a row  of  bosses. 

6.  Feet  and  lower  part  of  the  drapery  of  a figure  dancing  to 
the  left.  The  ground  line  is  marked  by  two  simple  mouldings. 
At  the  right  and  at  the  left,  traces  of  two  other  figures. 

Fragments  of  Vases 

7.  (Plate  XVI).  Maenad  dancing  to  right  (broken  at  the 
thighs).  The  face  is  in  profile  to  right,  the  body  is  represented 
in  three-quarters  view  from  behind.  The  chiton  has  become  un- 
fastened at  the  right  shoulder,  so  that  the  right  side  and  the  back 
are  uncovered.  The  modelling  is  excellent.  Besides  the  chiton  the 
maenad  wears  a sort  of  shawl,  which  is  thrown  over  the  breast  and 
flies  out  behind.  The  hair  is  confined  by  a veil.  The  right  arm  is 
raised  above  the  head,  and  the  right  hand  holds  a staff  (probably 
a thyrsus) . The  left  hand  is  thrown  out  behind.  Above,  two  simple 
mouldings  and  part  of  a band  of  rosettes. 

8.  (Plate  XVI).  Maenad  running  to  left.  The  sweeping 
lines  of  the  drapery  about  the  legs  and  the  agitated  folds  of  the  apo- 
ptygma  are  worked  out  in  great  detail,  and  show  that  the  figure  was 
in  violent  motion.  The  head  and  both  arms  are  lost,  but  the  arms 

[ 47  ] 


ARRETINE  POTTERY 


were  evidently  extended  and  the  hands  held  the  himation.  The 
agitated  folds  of  this  garment  are  represented  behind  the  figure, 
and  one  end  hangs  down  in  front. 

9.  (Plate  XVI).  Maenad  dancing  to  right.  Her  upper  body 
is  throAvn  violently  backward,  and  her  dress  flies  out  behind.  In 
her  arms  she  holds  a himation  which  also  flies  out  behind. 

10.  (Plate  XVI).  Maenad  in  three-quarters  view  dancing  to 
right.  She  wears  a sleeveless  chiton  reaching  to  the  knees,  where 
the  fragment  ends,  and  her  cloak  appears  to  be  fastened  at  the 
waist  only.  It  flies  out  behind  her  in  great  folds.  Both  arms  were 
raised  above  the  head.  The  hair  is  treated  in  strands  rising  almost 
straight  above  the  head. 

11.  (Plate  XVI).  At  the  right  hand  side  of  the  fragment,  a 
maenad  rushes  to  the  right.  She  is  dressed  in  a voluminous  chiton, 
which  covers  the  body  completely  except  the  forearms  and  blows 
out  behind  in  sweeping  folds.  In  her  right  hand,  she  holds  a nar- 
row himation,  which  passes  behind  her  body  and  is  thrown  over  the 
left  arm.  In  her  left  hand,  she  holds  a staff  (probably  a thyrsus), 
on  which  is  tied  a fillet.  The  hah*  is  gathered  into  a knot  on  the 
crovTi  of  the  head.  At  the  left  of  the  fragment,  the  elbow  of  a 
second  figure  appears.  Between  the  two,  a plant  springs  from  the 
ground  line.  Above,  a tongue  pattern. 

12.  Above  a laurel  leaf  pattern  and  three  mouldings  in  low  re- 
lief, the  legs  of  a dancing  maenad;  the  preserved  portion  includes 
only  the  lower  legs  from  just  above  the  knees.  The  left  leg  is  rep- 
resented in  full  front,  the  foot  very  awkwardly  foreshortened,  the 
right  leg  is  in  profile  and  touches  the  ground  only  with  the  toes. 

[ 48  ] 


ARRETINE  POTTERY 


The  figure  is  characterized  as  a maenad  by  the  paw  and  the  tail  of  a 
skin,  which  dangle,  one  in  front  of  the  body,  the  other  behind  it.  In 
front  of  the  figure  appears  the  lower  part  of  a cista.  To  the  left, 
two  plant  stems  rise  from  the  ground. 

13.  Lower  part  of  a female  (?)  figure.  Only  one  leg  from  just 
above  the  knee  to  the  ankle  and  a bit  of  the  high  girded  chiton  are 
preserved. 


(c)  Dancing  and  Drinking  Satyrs 
Fragments  of  Moulds 

14.  (Plate  IX).  Youthful  satyr  dancing  to  left.  The  fig- 
ure is  turned  so  that  the  back  is  presented  to  the  spectator.  The 
modelling  is  hard,  but  skilful,  the  muscles  and  sinews  throughout 
are  rendered  with  more  than  usual  care.  All  the  characteristics  of 
the  satyr,  pointed  ears,  prominent  nose,  and  short  tail,  are  faithfully 
reproduced.  The  left  arm  is  extended  and  over  it  is  thrown  a skin, 
with  fine  markings  to  suggest  the  texture  of  the  hair.  The  right 
arm  is  thrown  out  behind,  and  the  right  hand  grasps  a thyrsus, 
bound  with  a fillet.  At  the  right,  a trace  of  another  figure.  Above, 
a band  of  rosettes  and  a plain  moulding. 

Cf.  B.  J.  96,  p.  62,  No.  11,  and  pi.  4,  No.  5.  The  type  is  a com- 
mon one.  It  appears  on  reliefs  in  marble  {Museo  Pio-ClementinOj 
IV,  pi.  29;  Museo  Borhonico,  XIII,  pi.  11) ; on  terra-cotta  lamps 
(Duruy,  Histoire  des  Grecs,  I,  p.  596) ; and  on  gems  {Museo  Bor- 
honico, II,  pi.  28,  No.  3;  Jahrhuch  des  Instituts,  3 [1888],  pi.  10, 
No.  24). 


[ 49  ] 


ARRETINE  POTTERY 


15.  Lower  part  of  a male  figure  dancing  on  tiptoe  to  left.  Only 
the  lower  right  leg  and  the  bent  knee  of  the  left  leg  are  preserved. 
At  the  left  appears  a part  of  an  animal’s  skin,  which  evidently  hung 
from  the  extended  arm,  and  the  foot  of  a vase  (probably  a can- 
tharus),  which  was  held  in  the  left  hand. 

Probably  of  the  same  type  as  No.  14. 

Fragments  of  Vases 

16.  In  the  center  of  the  fragment,  a large  crater.  On  each  side, 
a satyr  approaches.  The  one  at  the  right  is  better  preserved;  only 
the  head  and  the  raised  left  arm  are  missing.  He  is  nude  except 
for  a skin  thrown  over  his  shoulder.  A staff  behind  him  suggests 
that  he  held  a thyrsus  in  his  left ; in  his  right,  he  holds  a phiale.  Of 
the  other  satyr  only  the  left  leg  and  hand  and  a part  of  the  right 
thigh  appear.  With  the  left  hand,  he  grasps  the  neck  of  a wine- 
skin, from  which  he  pours  wine  into  the  crater.  At  the  right  hand 
lower  corner  of  the  fragment,  a plant  stem  and  the  foot  of  another 
figure. 

Cf.  B.  J.  96,  pp.  61f.  and  pi.  4,  No.  6;  Not.  Scav.  1884,  p.  371, 
Gmppo  III. 

(d)  Satyrs  Gathering  Grapes  and  Treading  Them  Out 

Complete  Mould 

17.  (Plate  II).  Diameter,  17.5.  Height,  10.1.  Broken  into 
two  fragments,  but  complete  except  for  chipping  at  the  edges  of 
the  break  and  about  rim  and  foot.  The  decoration  is  in  two  bands. 

[ 50  ] 


ARRETINE  POTTERY 


The  lower  is  bordered  below  by  a row  of  bosses.  From  these,  at 
regular  intervals,  spring  conventional  acanthus  leaves,  with  large 
flowers  on  gracefully  curving  stems  between  them.  The  principal 
field  is  set  oif  by  a narrow  plain  moulding  at  the  bottom,  and  a 
laurel  leaf  pattern  at  the  top. 

The  principal  field  is  divided  into  two  parts  by  two  vine 
branches,  which  spring  from  the  base  line  close  together,  are  carried 
up  nearly  to  the  top  of  the  field,  and  run  in  opposite  directions  until 
they  meet  at  the  opposite  side.  These  are  very  delicate  and  natural, 
with  leaves,  tendrils,  and  bunches  of  grapes  at  irregular  and  rather 
wide  intervals.  The  vine  itself  and  the  tendrils  were  apparently 
hand-drawn,  the  leaves  and  bunches  of  grapes  produced  from 
stamps.  These  were  impressed  in  the  mould  before  the  other  figures 
of  the  design,  for  the  latter  are  distributed  without  regard  to  the 
vine,  and  often  have  destroyed  parts  of  it.  Between  the  branches 
where  they  separate,  M.  Peren{ni) . Opposite,  where  the  two  stems 
end  in  tendrils,  Tigrani.  In  the  two  fields  thus  distinguished,  the 
subject  is  the  same — satyrs  gathering  and  treading  out  grapes — 
but  the  arrangement  is  not  symmetrical ; on  one  side  are  three  satyrs 
with  statues  of  Dionysus  and  Priapus  between  them;  on  the  other, 
there  are  three  satyrs,  but  only  one  statue  (of  Priapus).  Some  of 
the  figures  are  duplicates,  clearly  made  with  the  same  stamp;  the 
two  figures  of  Priapus  are  identical,  and  among  the  six  satyrs,  there 
are  only  four  types.  The  detailed  description  follows. 

On  both  sides  of  the  bowl,  the  ground  is  represented,  above  the 
plain  moulding  which  divides  the  field  from  the  lower  range,  by  a 
series  of  irregular  projections  intended  to  represent  stones.  Upon 

[ 51  ] 


ARRETINE  POTTERY 


these,  and  in  some  cases  concealing  them,  are  bunches  of  grapes  dis- 
tributed irregularly.  These  were  impressed  in  the  mould  after  the 
principal  figures,  since  in  some  cases,  they  cover  and  distort  the  feet 
of  the  figures,  in  others,  the  design  is  broken  to  avoid  this  difficulty. 
The  separate  figures,  beginning  at  the  right  of  the  signature  M. 
Peren{ni)  are: 

(а)  Youthful  satyr  in  profile  to  right.  He  has  the  high, 
strongly  arched  eyebrow  and  the  tail  characteristic  of  satyrs,  other- 
wise the  form  is  purely  human.  The  hair  is  in  carefully  arranged 
curls,  tied  with  a fillet.  Thrown  about  his  shoulders  like  a chlamys, 
he  wears  a skin.  This  is  fastened  at  the  right  shoulder,  where  one 
paw  appears,  another  dangles  behind  the  figure  at  the  level  of  the 
knee.  Both  arms  are  extended  and  covered  by  the  skin,  one  edge 
of  which  appears  along  the  right  arm.  In  the  sack  thus  formed,  the 
satyr  carries  two  bunches  of  grapes,  intended,  doubtless,  to  suggest 
a heavy  load,  for  he  bends  backward  as  if  he  were  carrying  a con- 
siderable burden. 

(б)  Small  statue  of  Priapus  on  a lofty  base.  The  base  is  trian- 
gular and  has  two  steps  at  the  bottom  and  a triply  divided  cornice. 
Under  the  cornice,  on  either  side,  is  carved  a garland,  and  about  the 
centre  of  the  shaft  a fillet  is  tied.  The  god  is  represented  in  profile 
to  left  and  ithyphaUic.  The  drapery  consists  of  a chlamys,  which 
covers  the  back  and  the  right  side,  but  leaves  the  breast  and  the  left 
side  bare.  In  his  left  hand,  the  god  holds  a long  horn  of  plenty 
(with  fruits  at  the  top?),  supporting  it  in  the  hollow  of  his  arm; 
his  right  hand  is  raised  and  holds  a cantharus. 

(c)  Bearded  satyr  in  three-quarters  view  to  left.  He  has  aU 

[ 52  ] 


ARRETINE  POTTERY 


the  characteristics  of  the  type — prominent  forehead,  eyebrows  rising 
at  a sharp  angle,  snub  nose,  pointed  ears,  bushy,  mane-like  hair, 
and  small  tail.  In  his  hair  is  a wreath  of  ivy.  His  skin  garment  is 
knotted  about  his  waist  like  a loin-cloth;  one  paw  hangs  down  be- 
tween his  legs.  A cord  is  tied  about  his  neck,  and  in  his  raised  left 
hand  he  holds  a rope  (or  a garland?) . His  right  arm  hangs  at  his 
side,  the  hand  concealed  by  his  raised  right  knee.  The  pose  sug- 
gests that  he  is  treading  out  the  grapes  beneath  his  feet. 

{d)  Youthful  satyr,  similar  in  type  and  action  to  {a).  The 
figure  differs  from  {a),  however,  in  facing  to  the  left  and  having 
a loin-cloth  of  leaves,  worked  out  in  considerable  detail. 

After  the  signature  Tigrani  and  the  meeting  point  of  the  two 
vine  stems: 

(e)  Bearded  satyr,  very  similar  to  (c),  but  facing  in  the  op- 
posite direction.  It  differs  from  figure  (c)  also  in  being  entirely 
nude  and  in  having  the  lowered  arm  (here  the  left)  somewhat  far- 
ther in  front  of  the  body,  so  that  the  left  hand  can  be  seen. 

(/)  Herm  of  Dionysus  on  a high,  slender  pedestal.  The  pedes- 
tal has  a sort  of  capital,  composed  of  two  members,  with  a volute 
above  the  second  member  at  each  side.  Except  for  a short  distance 
from  the  bottom,  the  pedestal  is  fluted.  On  the  unfluted  portion, 
two  plant  stems  are  represented,  presumably  conceived  as  spring- 
ing from  the  ground  in  front  of  it.  The  herm  is  of  the  usual  form, 
a fully  draped  figure  ending  in  a rectangular  block  with  a slight 
downward  taper.  The  face  is  bearded,  the  hair  treated  in  a heavy 
roU  above  the  forehead  and  the  ears.  The  right  arm  is  extended 
dovmward  and  to  the  side  and  the  hand  holds  a bunch  of  grapes; 

[ 53  ] 


ARRETINE  POTTERY 


the  left  is  raised  and  grasps  a long  thyrsus,  which  rises  above  the 
head  of  the  god  and  rests  on  the  supporting  pedestal. 

(^)  Same  as  (a) . 

(h)  Same  as  (b) . 

{i)  Same  as  (c) , except  that  the  rope  in  the  left  hand  is  omitted. 

The  modelling  of  the  figures  throughout  is  very  careful  and 
correct. 

This  type,  which  was  a favorite  in  the  workshop  of  Perennius, 
is  discussed  by  Dragendorff,  B.  J.  96,  p.  62.  A fragmentary  mould 
in  Arezzo  (puhl.  Not.  Scav.  1884,  pi.  9,  No.  3)  contains  excellent 
examples  of  types  (a)  and  (e)  (Dragendorflf’s  types  1 and  2) ; 
another  in  Dresden  (puhl.  B.  J.  96,  pi.  4,  No.  1)  reproduces  type 
(c)  ( Dragendorff ’s  type  3).  Similar  figures  appear  on  “Neo- 
Attic  ” reliefs;  cf.  Hauser,  Die  neuattischen  Reliefs,  p.  103,  35  and 
Museo  Borhonico,  II,  pi.  11.  For  the  signature,  cf.  C.I.L.  XI, 
6700,  450  n. 

Fragments  of  Vases 

18.  Nude  satyr  treading  out  grapes.  The  type  is  the  same  as 
that  of  {e)  on  No.  17,  and  the  vase  was  evidently  made  from  a 
mould  similar  to  No.  17.  It  had  the  same  grapevine  above  and 
bunches  of  grapes  below  the  figures. 

19-52.  Thirty-four  fragments  of  similar  vases,  differing  from 
one  another  only  in  the  arrangement  of  the  figures  and  the  details. 
In  some  cases,  the  bunches  of  grapes  under  the  feet  of  the  figures 
are  omitted.  All  the  four  types  that  appear  on  No.  17  are  repre- 
sented, but  there  are  no  new  types.  One  fragment  (No.  39)  hears 
an  inscription,  (Per)en{ni). 


[ 54  ] 


ARRETINE  POTTERY 


(e)  Kalathiskos  Dancers 
Complete  Mould 

53.  (Plate  III).  Mould  for  a large  bowl.  Pieced  together 
from  a number  of  fragments;  one  small  section  is  entirely  lost,  but 
no  essential  part  is  missing.  Diameter,  17.  Height,  10.2. 

Almost  the  entire  surface  is  occupied  by  a single  range  of  fig- 
ures, the  lower  field  being  very  narrow.  The  decorative  patterns 
are : — ^below  the  lower  field,  a row  of  bosses ; between  the  upper  and 
the  lower  fields,  a plain  moulding;  above  the  upper  field,  a tongue 
pattern,  a row  of  bosses,  and  a plain  moulding.  The  decoration  of 
the  lower  field  consists  of  a branch  of  ivy,  with  single  leaves  spring- 
ing from  it  on  either  side  in  regular  alternation.  The  point  where 
each  stem  springs  from  the  main  stalk  is  marked  by  a bunch  of 
berries. 

The  principal  field  is  divided  into  four  parts  by  four  tripods  set 
on  high  bases,  which  were  evidently  impressed  in  the  mould  by 
means  of  separate  stamps;  in  one  case,  there  is  a considerable  space 
between  the  tripod  and  its  base.  Three  of  the  bases  are  exactly 
alike;  they  are  set  upon  four  low  steps  and  finished  olf  at  the  top 
with  a low  cornice  with  dentils.  In  the  field  between  the  steps  and 
the  cornice  are  three  draped  female  figures  in  very  low  relief.  All 
are  dancing  to  the  right,  the  first  and  the  second  looking  round  at 
the  third.  The  details  are  not  very  clear.  The  first  figure  has  her 
left  hand  at  the  side  holding  up  the  lower  part  of  her  drapery ; the 
second  has  her  left  arm  raised  above  her  head,  and  with  her  right 
holds  a flying  end  of  the  drapery  of  the  first  figure ; the  third  holds 

[ 55  ] 


ARRETINE  POTTERY 

the  edge  of  her  chiton  in  her  left  hand,  and  her  right  swings  idly 
behind  her.  The  fourth  base  is  plain,  except  for  the  steps  and  the 
comice  and  their  mouldings.  One  of  these  near  the  top  is  slightly 
hatched,  in  a way  that  suggests  an  astragal.  The  tripods  are  sim- 
ilar in  form  and  were  aU  made  with  the  same  stamp,  though  they 
vary  in  their  decoration.  The  simplest  is  the  one  which  stands  upon 
the  plain  base.  This  has  the  usual  form  of  a rather  shallow  bowl 
set  upon  three  legs.  These  are  rectangular  in  plan,  tapering  toward 
the  bottom  and  ending  in  lion’s  paws.  One  (in  the  center)  is  rep- 
resented in  front  view,  the  others  are  in  profile.  The  outer  surface 
of  the  bowl  presents  a series  of  broad  ribs  (four  appear  between 
each  pair  of  legs),  and  the  upper  edge  has  a plain  moulding  with 
a bead  moulding  above  it.  Upon  this  three  sphinxes  with  outspread 
wings,  one  over  each  leg,  serve  as  supports  to  an  ornamental  top, 
decorated  at  top  and  bottom  with  two  plain  mouldings.  The  other 
tripods  are  similar,  but  they  have  a double  spiral  on  either  side  of 
the  central  leg,  a conventional  laurel  leaf  pattern  between  the  two 
mouldings  of  the  ornamental  top,  and  between  the  two  sphinxes 
there  are  slight  traces  of  rings  attached  to  the  upper  edge  of  the 
bowl.  These  details  were  clearly  added  after  the  tripod  had  been 
impressed  in  the  mould.  On  a level  with  the  top  of  the  tripods,  dis- 
tributed symmetrically  about  the  bowl,  are  eight  bucrania,  each 
joined  to  the  next  by  a conventional  garland  (laurel  leaf  pattern) 
suspended  from  the  horns.  The  inscriptions  are  placed  just  above 
two  of  these  bucrania,  exactly  opposite  each  other,  on  one  side 
Perenni,  on  the  other,  Cerdo.  The  tripods  near  which  the  inscrip- 
tions stand  are  distinguished  from  the  others  by  having  on  either 

[ 56  ] 


ARRETINE  POTTERY 


side  of  their  bases  three  plant  stems,  the  central  one  bearing  a large 
flower. 

In  the  four  fields  marked  off  by  the  tripods  are  four  dancing 
female  figures  of  the  type  of  the  so-called  “ kalathiskos  dancers.” 
Two  different  types  are  represented  here,  the  figures  in  opposite 
fields  being  exactly  alike  and  clearly  made  with  the  same  stamp.  In 
the  fields  in  which  the  inscriptions  stand — type  (a)— the  maiden 
dances  to  the  left,  clad  in  a short  chiton,  fastened  with  clasps  on  the 
shoulders  and  girded  high  at  the  waist,  so  that  it  does  not  reach  the 
knee.  The  flying  folds  are  very  carefully  and  delicately  rendered. 
The  figure  stands  on  tiptoe,  as  usual.  The  lower  body  and  the  head 
are  in  profile,  the  upper  body  is  turned  so  as  to  appear  in  three- 
quarters  view.  Both  arms  are  bent  at  the  elbow,  the  hands  are 
clenched  and  rest  on  the  left  breast.  Beneath  the  “ kalathiskos  ” 
cap  the  hair  appears  as  a mass  of  short  curls.  The  figure  in  the 
other  two  fields — type  (b) — is  very  similar.  She  also  dances  to  the 
left,  and  wears  the  same  short  chiton  and  peculiar  cap.  Of  the 
hands,  however,  only  the  right  is  brought  to  the  breast ; the  left  arm 
is  thrown  out  behind  the  figure  and  the  left  hand  is  not  clenched. 
In  both  types  the  head  is  slightly  inclined,  the  gaze  directed  down- 
ward. 

The  kalathiskos  dancers  are  among  the  commonest  figures  used 
to  decorate  Arretine  vases  of  Class  I.  A good  account  of  the  differ- 
ent types  is  given  by  Dragendorff,  B.  J.  96,  pp.  58-60.  The  two 
types  of  this  mould  correspond  to  his  types  5 and  6.  For  published 
examples  of  similar  figures  on  Arretine  pottery,  cf.  Not.  Scav.  1884, 
pi.  7,  No.  2;  Walters,  II,  pi.  66,  No.  5;  and  in  other  materials, 

[ 57  ] 


ARRETINE  POTTERY 


Clarac,  pi.  167  and  168;  Zoega,  Bassirilievi,  I,  pi.  20  and  21  (mar- 
ble reliefs) ; Campana,  Opere  in  Plastica,  pi.  4 (terra-cotta  re- 
liefs) . Exliaustive  lists  of  examples  in  different  materials  are  given 
by  Stephani,  Compte  Rendu,  1865,  pp.  60ff.  Yo  satisfactory  ex- 
planation of  the  “ kalathiskos  ” dancers  has  yet  been  offered.  Furt- 
wangler  {Masterpieces,  pp.  438f.)  has  argued  that  they  go  back 
ultimately  to  the  “ saltantes  Lacaenae  ” of  Callimachus  (Plin. 
N.  H.  34,  92),  but  this  cannot  be  proved. 

The  tripod  is  similar  to  one  represented  on  a fragment  in  Arezzo, 
publ.  Not.  Scav.  1884,  pi.  9,  No.  6.  For  the  inscription,  cf.  C.I.L. 
XI,  6700,  437  e. 

Fragments  of  Moulds 

54.  (Plate  IX).  Parts  of  two  kalathiskos  dancers.  Of  the 
one  on  the  left,  only  the  extended  left  forearm  and  a bit  of  drapery 
are  preserved.  The  one  on  the  right  is  preserved  from  just  above 
the  waist  to  below  the  knee.  She  wears  the  characteristic  thin  chiton 
which  does  not  reach  the  knee.  Between  the  two,  two  festoons  of 
laurel  leaf  pattern  and  naturahstic  flowers  rising  from  the  ground. 

Cf.  note  on  No.  53.  The  figure  at  the  left  was  probably  similar 
to  type  (b)  of  No.  53,  Dragendorff’s  type  6. 

55.  Lower  part  of  a figure  dancing  to  right.  Only  the  lower 
legs,  the  lower  part  of  the  drapery,  which  fell  to  just  above  the 
knees,  and  an  end  of  drapery  which  apparently  hung  from  one  of 
the  arms  are  preserved.  To  the  left  of  the  figui’e,  a small  rosette 
appears,  and  to  the  right,  a bit  of  an  altar  or  some  similar  structure. 
The  ground  line  is  marked  by  a plain  moulding,  and  below  it  ap- 
pears the  tip  of  a conventional  leaf. 

[ 58  ] 


ARRETINE  POTTERY 


Fragments  of  Vases 

56.  (Plate  XVI).  Kalathiskos  dancer  facing  left,  lower  legs 
missing.  She  is  dressed  in  a short  chiton,  girded  at  the  waist  and 
caught  up  at  the  shoulders.  On  her  head  is  the  characteristic  head- 
dress, here  represented  as  if  it  were  made  of  stiff  branches.  The 
right  arm  is  lowered,  the  left  is  raised  and  the  hand  holds  some 
object,  probably  intended  for  a castanet.  Above,  between  two  pairs 
of  simple  mouldings,  is  an  elaborate  pattern,  made  up  of  alternating 
rosettes  and  elongated  bosses  with  striations,  connected  by  beading. 

Cf.  note  on  Xo.  53.  The  type  is  Dragendorff’s  No.  2.  Cf. 
B.  J.  96,  p.  59,  with  Fig.  14  (from  a vase  found  at  Capua) . 

57.  (Plate  XVI).  Kalathiskos  dancer,  head  and  left  shoulder 
broken  away.  She  wears  the  characteristic  short  chiton  and  dances 
to  right.  Behind  her  stands  a large  crater  with  ribbed  body. 
Above,  a bit  of  conventional  laurel  leaf  pattern. 

Cf.  note  on  No.  53.  The  type  is  probably  the  same  as  type  (a) 
of  No.  53,  only  turned  in  the  opposite  direction. 

58.  (Plate  XVI).  Female  figure  dancing  to  right.  The 
sleeveless  chiton  is  girded  high,  so  that  it  falls  only  to  the  knee. 
Both  skirt  and  apoptygma  are  blown  out  behind  in  sweeping  folds. 
The  right  arm  is  extended  forward  and  bent  at  the  elbow.  Behind 
the  figure,  two  plant  stalks  rise  from  the  ground. 

Cf.  note  on  No.  53.  The  figure  is  probably  a kalathiskos  dancer 
of  the  type  numbered  1 by  Dragendorff ; so  far  as  it  is  preserved  it 
corresponds  closely  to  a figure  on  the  vase  from  Capua,  B.  J.  96,  p. 
59,  Fig.  14. 


[ 59  ] 


ARRETINE  POTTERY 


59.  Lower  part  of  a small  bowl.  The  fragment  shows  that  it 
formerly  stood  on  a slender  foot.  The  ground  line  is  marked  by  a 
simple  moulding.  Above  this  appear  the  feet  and  legs  of  three 
female  figures  dancing  to  left,  and  parts  of  two  other  similar  fig- 
ures. Between  them  are  flowers  on  slender  stalks.  The  pose  of  the 
figures  (on  tiptoe)  and  the  short  chiton  which  appears  in  three  cases 
suggest  that  they  are  kalathiskos  dancers. 

60.  Fragment  of  the  lower  part  of  a round  pyxis.  Of  the 
decoration,  only  the  legs  of  a figure  dancing  to  left  and  a goat’s 
head  (made  separately  and  applied)  are  preserved. 

61.  Lower  legs  of  a figure  standing  on  tiptoe  and  evidently 
dancing  to  left,  with  the  lower  edge  of  the  chiton  just  visible  at  the 
upper  edge  of  the  fragment.  Behind  the  figure,  a flower  rises  from 
the  ground. 

The  pose  is  the  same  as  that  of  one  of  the  kalathiskos  dancers 
(DragendorfF’s  No.  2).  Cf.  note  on  No.  53. 

(f)  Winged  Genii 
Fragments  of  Moulds 

62.  (Plate  IX).  Fragmentary  figure  of  a winged  female 
playing  the  lyre ; only  the  head  and  the  body  as  far  as  the  waist  are 
preserved.  The  figure  is  nude  to  the  waist,  except  for  a skin  knotted 
about  the  neck  and  falling  over  the  shoulders.  The  legs  were  cov- 
ered by  a short  skirt,  of  which  the  knot  is  preserved.  The  hair  is 
short,  and  is  confined  by  a fillet  with  a diadem  in  front.  The  lyre 
is  held  in  the  left  hand,  the  right  is  extended  and  strikes  the  strings 

[ 60  ] 


ARRETINE  POTTERY 


with  a plectrum.  The  lyre  itself  is  large,  and  very  carefully  repro- 
duced ; even  the  individual  strings  and  their  attachment  to  the  frame 
are  indicated.  In  all  these  details  the  figure  agrees  with  the  usual 
type  of  winged  genius.  In  front  of  the  figure  appears  the  upper 
part  of  a tripod — ^two  legs,  most  of  the  ribbed  bowl,  and  two  of  the 
sphinxes  that  decorated  the  top.  Above  this  PEI,  Per  (ewwi).  On 
a line  with  the  forehead  of  the  figure,  a conventional  laurel  leaf  pat- 
tern passed  around  the  mould.  Above,  a row  of  bosses  and  a plain 
moulding. 

The  type  appears  frequently  on  moulds  and  fragments  in 
Arezzo;  cf.  Not.  Scav.  1884,  pp.  369f.  and  pi.  7,  No.  3.  Similar 
figures  occur  in  terra-cotta  reliefs,  e.  g.  Campana,  Opere  in  Plastica, 
pi.  111.  Cf.  B.  J.  96,  pp.  63f. 

63.  Lower  parts  of  two  winged  female  figures  standing  back  to 
back.  In  each  case  a bit  of  the  drapery  appears  just  above  the 
knee.  Each  of  the  figures  has  two  wings,  the  lower  curving  up- 
ward, the  upper  falling  straight.  At  the  left  of  the  group,  the 
lower  part  of  an  altar  ( ?) . 

Cf.  note  on  No.  62. 


Fragments  of  Vases 

64.  (Plate  XVI).  At  the  right  of  an  elaborate  candelabrum 
stands  a winged  female  figure  facing  left.  She  is  nude  except  for 
a short  skirt  which  covers  the  body  from  the  waist  to  the  knees.  At 
the  waist  it  is  gathered  into  a knot  in  front.  The  folds  are  carefully 
rendered.  The  arms  are  extended,  the  hands  hold  a double  flute. 
At  the  right  of  this  figure,  the  end  of  a skin  which  was  thrown  over 

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ARRETINE  POTTERY 


the  shoulders  and  the  tip  of  a wing  are  preserved.  On  the  other 
side  of  the  candelabrum,  there  is  a trace  of  a second  figure  facing 
the  fiute-player. 

The  type  is  clearly  the  same  as  one  that  appears  on  numerous 
moulds  and  fragments  in  Arezzo  (cf.  Not.  Scav.  1884,  pp.  369f. 
and  pi.  7,  No.  3),  the  pendant  to  the  winged  lyre  player.  Cf.  note 
on  No.  62. 

65.  Upper  part  of  the  head  of  a figure  of  the  same  type  as  No. 
64.  Above,  a tongue  pattern  and  a row  of  bosses. 

66.  Fragment  from  a figure  of  a female  lyre  player  of  the  type 
of  No.  62.  Only  the  head  and  a corner  of  the  lyre  are  preserved. 
On  a line  with  the  forehead  of  the  figure,  a laurel  leaf  pattern. 

67.  Lower  legs  and  part  of  the  wing  of  a female  figure  facing 
right.  The  wing  curves  upward  at  the  end  and  has  an  archaic 
look.  The  ground  is  suggested  by  a mass  of  rush-like  stalks. 

68.  Small  fragment  of  a winged  lyre  player,  broken  at  the  neck 
and  just  below  the  waist. 

The  type  is  very  similar  to  that  of  No.  62,  but  the  proportions 
are  much  smaller. 

69.  (Plate  XVI).  Fragmentary  winged  figure  facing  right. 
The  figure  is  broken  just  above  the  waist,  but  enough  is  preserved 
to  show  that  it  was  similar  to  the  type  represented  by  No.  62.  It 
was  nude  to  the  waist,  had  two  pairs  of  wings,  and  a short  skirt 
knotted  at  the  waist.  The  legs,  however,  are  bird’s  legs  ending  in 
large  claws. 

70.  (Plate  XVI).  Similar  figure,  but  facing  left.  This  type 
and  that  of  No.  69  doubtless  formed  pendants. 

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ARRETINE  POTTERY 


(g)  Nike 

Fragment  of  Mould 

71.  In  the  main  field,  part  of  the  hair  and  wings  of  a Nike  of 
very  careful  execution.  Above,  two  simple  mouldings  and  a pat- 
tern of  alternating  double  rosettes  and  conventional  calyxes. 

Fragments  of  Vases 

72.  Part  of  the  head  and  the  wing  of  a Nike  facing  right.  The 
hair  is  drawn  into  a knot  at  the  back  of  the  head.  The  feathers  of 
the  wing  are  worked  in  some  detail.  Above,  a series  of  alternating 
rosettes  and  conventional  calyxes  between  simple  mouldings. 

73.  Similar  head  and  shoulder  with  part  of  a wing.  The  right 
arm  was  extended.  Above,  laurel  leaf  pattern,  followed  by  a series 
of  triangles  (conventionalized  leaves?)  and  two  simple  mouldings. 

74.  (Plate  XVI).  Head  and  shoulders  of  Nike  facing  left. 
Her  chiton  was  fastened  at  the  shoulders,  leaving  both  arms  free, 
except  where  an  end  of  the  robe  is  thrown  over  the  left  arm  near  the 
elbow.  The  hair  is  worked  out  in  separate  strands,  gathered  into 
a knot  at  the  back  of  the  head.  In  the  wings,  the  details  of  the 
feathers  are  suggested  by  a series  of  parallel  grooves.  Above,  the 
end  of  an  inscription,  probably  {Mem)  mi,  and  a lam’el  leaf  pattern. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  378. 

75.  Head  and  shoulders  of  Nike,  similar  to  No.  74.  The  fig- 
ure faces  left  and  has  both  arms  raised,  the  right  bare  from  the 
shoulder,  the  left  covered  to  just  above  the  elbow  by  the  ends 

[ 63  ] 


ARRETINE  POTTERY 


of  her  robe.  In  the  wing,  so  far  as  it  is  preserved,  the  separate 
feathers  are  summarily  indicated.  The  hair  is  drawn  back  into  a 
knot. 

None  of  these  fragmentary  figures  is  sufficiently  preserved  to 
make  the  motive  of  the  figure  clear.  The  raised  arms  of  Nos.  73-75 
suggest  that  Nike  was  represented  decking  a trophy  or  a tripod  or 
some  similar  object,  a type  that  occurs  in  Arretine  ware  (cf.  Not. 
Scav.  1884,  p.  373  and  pi.  9,  No.  6) . The  type  is  similar  to  a figure 
of  Nike  pouring  wine  from  a pitcher  which  was  a favorite  with  the 
Neo-Attic  sculptors  and  their  contemporaries  (cf.  Zoega,  Bassiri- 
lievi,  pi.  70;  Michaelis,  Ancient  Marbles,  p.  638,  No.  66),  and  it  is 
possible  that  this  type  is  represented  on  some  of  the  fragments. 


(h)  Symposia 
Complete  Mould 

76.  (Plate  IV).  The  only  break  is  at  the  bottom,  where  a 
small  fragment  is  lost.  There  is  only  one  field  for  decoration,  set 
off  above  and  below  by  patterns, — ^below,  plain  moulding,  row  of 
bosses,  plain  moulding,  band  of  rosettes,  plain  moulding;  above, 
row  of  eggs,  row  of  bosses,  and  plain  moulding.  Besides  these,  near 
the  top  of  the  field,  a conventional  laurel  leaf  pattern  with  pendants 
at  intervals  runs  around  the  vase.  Diameter,  16.  Height,  9.8. 

In  the  field  thus  defined,  four  pairs  of  figures  are  represented, 
in  each  case  a man  and  a woman  reclining  on  a couch.  The  couches 
are  all  similar,  and  were  evidently  made  with  the  same  stamps,  the 

[ 64  ] 


ARRETINE  POTTERY 


body  of  the  couch,  the  legs,  and  the  head  and  foot  being  impressed 
in  the  mould  with  small,  separate  stamps.  In  the  figures,  however, 
there  is  great  variety,  and  no  two  pairs  are  ahke.  The  detailed 
description  begins  with  the  figures  below  the  inscriptions  and  goes 
from  left  to  right. 

(a)  The  man  reclines  on  a cushion  at  the  head  of  the  couch. 
His  robe  passes  over  his  right  shoulder  and  is  wound  about  his  left 
arm,  which  rests  on  the  pillow.  In  his  hair  is  a fillet.  In  his  left 
hand  he  holds  a vase  or  a box,  from  which  he  is  apparently  removing 
the  cover  with  his  right.  The  lower  part  of  his  body  is  hidden  be- 
hind that  of  the  woman.  She  rests  her  left  arm  on  a cushion  and 
turns  toward  her  companion,  stretching  out  her  right  hand  toward 
the  vase  which  he  holds.  She  is  dressed  in  a long  chiton  which  leaves 
only  the  right  shoulder  and  breast  and  the  arms  uncovered.  Her 
hair  is  tied  in  a knot  behind,  with  a single  lock  falling  in  front  of 
the  right  shoulder.  On  her  right  arm  she  wears  a bracelet.  Be- 
tween the  two  figures  a Pan’s  pipe  hangs  from  the  conventional 
laurel  leaf  pattern  which  runs  around  the  vase.  In  the  field  above 
the  female  figure,  a loop  of  conventional  laurel  leaf  pattern  with 
tassel-like  pendants  is  suspended.  Above  it  is  a rosette,  on  either 
side  of  which  are  the  signatures, — at  the  left,  M.  Perenni,  at  the 
right,  Nicephor  (tis) . 

(b)  The  man  turns  his  head  sharply  to  the  right,  as  if  to  look 
at  the  group  on  the  next  couch.  Only  a small  part  of  his  body  is 
visible;  there  is  no  indication  of  the  drapery.  Under  his  left  arm 
is  a large  cushion,  doubled  over.  The  woman  turns  toward  the  man, 
pressing  her  left  hand  against  the  couch,  and  touches  his  chin  with 

[ 65  ] 


ARRETINE  POTTERY 


her  right.  He  seizes  her  forearm  with  his  left  hand.  She  wears  a 
thin  ehiton  which  does  not  cover  her  right  shoulder.  Her  hair  is 
confined  by  a veil  (?),  and  on  her  wrists  are  bracelets.  Under  her 
left  arm  appears  a cushion.  Above,  the  space  is  filled  by  a Cupid 
dancing  toward  the  right  and  carrying  an  amphora  on  his  left 
shoulder.  At  each  side  of  this  figure,  a flower  hangs  from  the 
laurel  leaf  pattern.  Beyond,  at  the  left,  hangs  a bit  of  drapery 
(to  suggest  a curtain?),  and  behind  this  a girl  gazes  at  the  pair 
on  the  couch;  only  her  head  and  right  arm  are  visible.  At  the 
left  of  her,  a flower  hangs  from  the  laurel  leaf  pattern. 

(c)  The  man  has  fallen  asleep,  with  his  right  arm  thrown  over 
his  head  and  his  left  hanging  down  and  pressing  into  a large  cusliion. 
Only  a smaU  part  of  his  robe  appears,  covering  his  right  side.  The 
stamp  was  pressed  too  deepl}'^  into  the  mould,  so  that  the  joining 
of  this  figure  to  the  next  is  incorrect;  the  male  figm’e  projects  in 
front  of  the  female,  though  it  is  clearly  conceived  as  disappearing 
behind  her.  Above,  a Pan’s  pipe  hangs  from  the  laurel  leaf  pat- 
tern. The  woman  has  raised  herself  on  her  left  arm  and  looks  over 
the  man’s  head  toward  the  group  at  the  right.  She  wears  a thin 
chiton,  which  has  shpped  from  the  shoulders,  leaving  the  right  breast 
uncovered.  Her  right  arm  is  raised,  but  the  hand  seems  to  be  empty. 
Above  the  woman’s  figure,  the  field  is  filled  with  a loop  of  laurel 
leaf  pattern  with  pendants  and  a rosette,  similar  to  those  on  the 
opposite  side. 

(d)  In  the  fourth  group,  the  man  reclines  on  a cushion,  and 
has  his  left  arm  wrapped  in  his  mantle.  The  upper  part  of  this 
robe  has  shpped  from  his  shoulders,  so  that  his  breast,  which  is  rep- 

[ 66  ] 


ARRETINE  POTTERY 


resented  almost  in  front  view,  is  uncovered.  His  right  arm  is  ex- 
tended behind  the  woman’s  back.  He  wears  in  his  hair  a fillet  with 
long  ends.  The  woman’s  pose  is  similar  to  that  of  the  man.  She 
too  rechnes  on  her  left  arm,  and  turns  to  look  at  her  companion, 
so  that  her  upper  body  is  in  front  view.  She  wears  a long,  high-girt 
chiton,  which  covers  her  whole  body  except  the  right  arm  and  shoul- 
der and  the  upper  left  arm.  In  her  left  hand  she  holds  a wreath. 
Her  left  knee  is  raised  and  supports  a lyre,  which  she  holds  in  her 
extended  right  hand.  Above,  a large  flower  hangs  from  the  laurel 
leaf  pattern,  and  above  the  woman’s  feet  the  space  is  filled  by  a 
Cupid  similar  to  the  one  in  the  opposite  field. 

The  figures  are  for  the  most  part  skilfully  modelled,  though 
sometimes  careless  in  details.  The  folds  of  the  drapery  in  the  female 
figures  especially  are  gracefully  rendered  in  low  relief,  and  the 
variety  of  types  makes  this  one  of  the  most  pleasing  subjects  in  the 
whole  range  of  Arretine  work. 

The  types  which  appear  in  representations  of  symposia  are  dis- 
cussed by  Dragendorff,  B.  J.  96,  p.  72;  cf.  Not.  Scav.  1884,  pp. 
374f.  Type  (a),  as  described  above,  seems  to  be  new,  though  the 
figure  with  the  vase  is  very  similar  to  one  of  the  figures  of  Dragen- 
dorff’s  type  4 (cf.  Not.  Scav.  1884,  pi.  9,  No.  4).  Dragendorff 
interprets  this  as  a female  figure,  but  the  short  hair  makes  it  prob- 
able that  it  is  male,  as  the  figure  on  No.  76  certainly  is.  Type  (b) 
is  Dragendorff ’s  type  3 (cf.  B.  J.  96,  pi.  4,  No.  10) ; type  (c)  is 
his  type  7,  type  (d)  his  type  2 (cf.  B.  J.  96,  pi.  4,  No.  11  and 
Not.  Scav.  1884,  pi.  9,  No.  5).  For  the  inscription,  cf.  C.I.L.  XI, 
6700,  444. 


[ 67  ] 


ARRETINE  POTTERY 


Fragments  of  Moulds 

77.  (Plate  IX).  Fragmentary  figure  of  a young  man  re- 
clining on  his  left  elbow,  facing  left.  His  right  arm  is  extended 
and  is  covered  by  a cloak  with  broad,  simple  folds.  His  body  to 
the  waist  is  uncovered.  The  breast,  the  shoulder,  and  the  arm  are 
treated  in  very  broad  surfaces,  reminiscent  of  Greek  work  of  the 
fifth  century  b.  c.  The  head,  also,  with  its  breadth  of  treatment 

^ and  lack  of  detail,  recalls  the  work  of  that  period.  The  hair  is 
worked  in  a series  of  carefully  arranged  locks,  and  recalls  Polyclitan 
heads.  A bit  of  drapery  at  the  left  of  this  figure  suggests  a second 
figure  reclining  in  the  lap  of  the  young  man,  but  the  fragment  is 
too  small  to  make  this  interpretation  certain.  On  a level  with  the 
head  of  the  principal  figure,  a conventional  laurel  leaf  pattern  ran 
around  the  mould.  Above,  two  simple  mouldings  and  a row  of  cup- 
shaped fiowers. 

Cf.  note  on  No.  76.  This  type  does  not  correspond  exactly  to 
any  of  the  types  mentioned. 

78.  (Plate  IX).  Fragment  of  a large  mould  with  a similar 
subject.  The  mould  is  badly  rubbed,  and  the  details  are  difficult 
to  determine.  The  central  figure  is  that  of  a man  reclining  on  his 
left  elbow  and  facing  left.  He  has  a fillet  in  his  hair.  His  body 
is  nude  to  the  waist.  At  the  left,  another  figure,  apparently 
female,  can  be  made  out,  and  at  the  right,  the  head  and  the  shoulder 
of  a second  male  figure.  He  too  has  a fillet  in  his  hair.  His  right 
hand  is  extended  and  holds  the  cover  of  a vase  or  box,  which  he 
evidently  held  in  his  left  hand.  On  a level  with  the  heads  of  the 

[ 68  ] 


ARRETINE  POTTERY 


figures,  and  broken  by  them,  is  a conventional  laurel  leaf  pattern. 
Above  it,  between  the  first  and  the  second  figures,  in  large  letters, 
TI,  between  the  second  and  the  third  GR,  parts  of  the  signature 
Tigr(ani).  Above  the  inscription,  a row  of  bosses  and  a plain 
moulding. 

Cf.  Not.  Scav.  1884,  pi.  9,  No.  4,  and  note  on  No.  76;  for  the 
signature,  C.I.L.  XI,  6700,  450  g. 

79.  Fragment  of  a mould  with  a similar  subject.  All  that  can 
be  made  out  is  one  leg  of  a couch,  the  end  of  a rolled  up  cushion, 
and  the  left  leg  of  a figure  seated  on  it.  Behind  the  figure,  the 
hind  quarters  of  an  animal,  apparently  a dog  squatting  on  the 
ground,  can  be  seen. 

80.  (Plate  X).  Fragmentary  representation  of  a symplegma 
of  the  type  common  in  Arretine  ware.  Only  the  head  and  the 
breast  of  the  male  figure  and  the  head  and  the  left  laiee  of  the 
female  figure  are  preserved.  The  modelling  throughout  is  very  fine 
and  recalls  Greek  work  of  the  fifth  century.  Both  figures  have  the 
hair  bound  by  a fillet,  that  of  the  man  being  very  broad  and  care- 
fully worked  out.  On  the  level  of  the  man’s  head,  a conventional 
laurel  leaf  pattern  passed  around  the  vase.  Above,  a row  of  nat- 
uralistic, eight-petalled  roses. 

Cf.  Not.  Scav.  1884,  pi.  9,  No.  2. 

81.  (Plate  X).  Similar  fragment.  Nothing  of  the  design 
is  preserved  except  the  head  and  shoulder  of  the  man,  a bit  of  the 
hair  and  the  knee  of  the  woman.  A conventional  lam*el  leaf  pat- 
tern passed  around  the  vase,  as  in  No.  80.  The  decorative  design 
at  the  top  of  the  field  is  an  egg  pattern. 

[ 69  ] 


ARRETINE  POTTERY 


82.  (Plate  X).  Fragment  with  the  same  subject.  The  rehef 
is  higher  than  in  Nos.  80  and  81,  and  about  the  heads,  especially, 
the  mould  has  been  badly  rubbed,  but  the  design  shows  the  same 
breadth  of  modelling,  the  heads  the  same  noble  simplicity.  There 
is  a trace  of  a laurel  leaf  pattern  on  a level  with  the  man’s  head. 
Above,  a row  of  bosses. 


Fragments  of  Vases 

83.  (Plate  XVI).  The  greater  part  of  the  fragment  is  taken 
up  by  an  elaborate  couch  with  turned  legs,  over  which  a cover  is 
draped.  On  this  a young  man  rechnes ; only  the  torso  and  left  arm 
are  preserved,  but  the  modelling,  especially  of  the  ribs  and  of  the 
muscles  of  the  abdomen,  is  very  good.  At  the  right  hand  side  of 
the  fragment,  part  of  the  leg  and  the  coverlet  of  a second  couch 
appear. 

Cf.  note  on  No.  76.  The  type  is  similar  to  Dragendorff’s  type 
2 (cf.  B.  J.  96,  pi.  4,  No.  11),  but  not  identical  with  it. 

84.  Part  of  a reclining  male  figure,  similar  to  the  figure  on 
No.  83.  Only  the  lower  part  of  the  torso,  the  left  arm,  and  the 
left  thigh  are  preserved.  The  man  rests  his  left  elbow  on  a cushion. 
The  modelling  is  more  careless  than  that  of  No.  83. 


(i)  Miscellaneous  Subjects 
Fragments  of  Moulds 

85.  (Plate  X).  Parts  of  two  male  figures.  Of  the  one  on 
the  left,  only  half  of  the  body  as  far  as  the  knees  appears.  He  is 

[ 70  ] 


ARRETINE  POTTERY 


in  full  front  view,  his  left  arm  bent  at  the  elbow  and  extended  across 
the  body.  A skin  thrown  over  the  shoulders  and  tied  in  a knot  in 
front  forms  his  only  garment.  Behind  his  head  the  end  of  a long 
fillet  is  visible.  The  figure  at  the  right  is  preserved  down  to  the 
waist.  He  is  in  profile  view  to  right.  He  wears  a chlamys  fastened 
over  the  right  shoulder,  leaving  his  breast  and  right  shoulder  bare. 
His  hair  is  bound  by  a fillet  which  streams  out  behind  him.  In  his 
left  arm,  he  holds  a lyre,  which  he  strikes  with  a plectrum  held  in 
his  right  hand.  Superficial,  but  graceful  modelling.  Above,  a 
laurel  leaf  pattern  and  a row  of  bosses. 

86.  (Plate  X).  Fragment  of  a mould  with  a frieze  of  fe- 
male figures,  two  of  which  are  partially  preserved  in  the  fragment. 
The  one  on  the  left  holds  a child  in  her  arms.  She  is  dressed  in  a 
long  chiton,  which  leaves  only  the  forearm  bare,  and  falls  in  heavy 
folds.  Her  head  is  turned  so  that  she  looks  back  over  her  shoulder, 
and  her  gaze  is  directed  downward.  She  holds  the  child  on  her 
left  hand,  and  supports  him  with  her  right.  He  places  his  right 
arm  about  the  woman’s  neck.  The  child  is  entirely  wrapped  in  a 
mantle.  He  also  looks  to  the  left,  in  the  same  direction  as  the 
woman.  The  other  woman,  on  the  right  hand  side  of  the  fragment, 
is  walking  slowly  toward  the  left.  She  too  wears  a long  chiton, 
over  which  is  thrown  the  skin  of  an  animal.  A curious  break  in  the 
lower  part  of  the  drapery  and  the  shortness  of  the  right  foot  sug- 
gest that  the  stamp  with  which  the  figure  was  impressed  in  the 
mould  was  broken  or  imperfect.  The  woman’s  right  hand  is 
raised  and  supports  a flat  basket  filled  with  fruits.  It  seems  prob- 
able that  the  subject  was  a sacrifice.  Below  the  figures,  a plain 

[ 71  ] 


ARRETINE  POTTERY 


moulding.  Above,  tongue  pattern,  row  of  bosses,  and  plain 
moulding. 

Cf.  No.  104. 

87.  (Plate  X).  Fragment  from  a mould  with  a frieze  of 
very  large  figures.  The  ground  line  is  indicated  by  a row  of  small, 
overlapping  leaves.  Above  this,  parts  of  two  figures  are  pre- 
served; at  the  left,  a standing  female  figure,  at  the  right,  a nude 
male  figure  leaning  on  a spear.  Of  the  female  figure,  only  the 
heavy  folds  of  the  lower  part  of  the  chiton  and  a little  of  the  kolpos 
which  overhangs  the  girdle  appear.  Of  the  male  figure,  the  legs 
and  part  of  the  torso  are  preserved.  The  weight  rests  on  the  right 
leg,  the  left  foot  is  set  back  and  rests  on  the  toes.  The  torso  is  in 
three-quarters  view,  as  if  the  man  were  turning  to  look  at  the  woman. 
His  left  arm  clearly  rested  on  the  spear.  The  modelling  of  the 
nude  is  accurate,  especially  in  the  torso.  Between  the  two  figures 
is  a pendant  ornament,  not  unhke  the  scabbard  of  a short  dagger, 
and  from  this  hangs  a festoon  of  overlapping  leaves  similar  to  those 
below  the  figures. 

88.  (Plate  X).  Fragment  of  the  same  mould  as  No.  87, 
with  the  torso  and  part  of  the  legs  of  a female  figure  facing  left. 
She  wears  a long  chiton  with  carefully  executed  folds — even  the 
folds  about  the  pins  by  which  the  chiton  is  fastened  over  the  arm  are 
indicated — and  over  this  a smaller  robe  appears  about  the  waist  and 
on  the  shoulder.  The  right  arm  is  extended  in  a manner  which  sug- 
gests that  the  woman  was  speaking.  At  the  left  hangs  a festoon 
of  leaves,  and  beyond  there  is  a trace  of  a scabbard-like  pendant 
similar  to  that  of  No.  87. 


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ARRETINE  POTTERY 


89.  Fragment  with  parts  of  two  male  figures.  The  one  at  the 
left  is  that  of  a powerful  man  facing  left.  The  right  arm  is  drawn 
back  and  bent  at  the  elbow  in  a manner  that  brings  the  muscles  of 
the  back  into  prominence,  and  the  modelling  here  and  in  the  care- 
fully worked  hair  is  very  fine.  The  man  at  the  right  was  in  front 
view,  and  had  his  right  arm  raised  above  his  head.  Little  is  pre- 
served except  this  arm.  About  the  neck  there  is  a trace  of  a chlamys 
or  possibly  an  animal’s  skin.  Above,  rope  pattern  and  row  of  double 
bosses  on  a convex  moulding. 

90.  (Plate  X).  Right  arm  and  part  of  the  torso  and  legs  of 
a nude  male  figure.  The  man  is  represented  in  three-quarters 
view  to  left.  His  right  arm  is  raised  in  a gesture  of  command. 
Superficial,  but  effective  modelhng.  Above  and  to  the  left, 
an  inscription,  apparently  Coristy. 

The  letters  of  the  inscription  are  perfectly  clear,  except,  pos- 
sibly, C and  s.  On  the  analogy  of  other  inscriptions,  it  ought  to 
contain  the  name  of  a potter  or  that  of  a slave,  but  I am  unable 
to  offer  even  a plausible  suggestion  as  to  what  the  form  may  have 
been. 

91.  (Plate  X).  Male  figure  in  front  view.  He  rests  his 
weight  on  his  right  leg,  the  left  is  bent  at  the  knee  and  placed  to 
one  side.  His  head  is  turned  to  the  left.  His  only  garment  is  a 
cloak,  which  is  thrown  over  the  left  shoulder.  At  his  left  side  is  a 
sword,  slung  on  a baldric  passing  about  his  neck.  His  right  arm 
is  extended  and  the  right  hand  holds  a bunch  of  ears  of  corn.  In 
the  hollow  of  the  left  arm  rests  a cornucopia  filled  with  fruits  and 
flowers.  At  the  left,  a trace  of  plant  stalks  rising  from  the  ground. 

[ 73  ] 


ARRETINE  POTTERY 

Above,  egg  and  dart  pattern  and  row  of  bosses.  The  whole  is  badly 
rubbed  and  not  very  distinct. 

92.  (Plate  XV).  Two  male  figures  moving  to  left.  The  first 
is  in  profile,  but  the  left  shoulder  is  thrown  back  so  that  the  breast 
is  in  three-quarters  view.  The  figure  is  undraped.  The  left  arm  is 
bent  at  the  elbow  and  supports  a long  club.  The  second  figure  is 
in  three-quarters  rear  view.  He  wears  a helmet  with  a high  crest, 
grasps  a spear  with  his  right  hand,  and  holds  a sword  with  scabbard 
and  baldric  in  his  left.  Below,  the  ground  line  is  indicated  by  a 
laurel  leaf  pattern.  Above,  egg  and  dart  and  row  of  bosses. 

93.  (Plate  XI).  Woman  training  a dog.  The  woman  is 
seated  on  a chair  or  chest — only  one  corner  of  this  remains.  She  is 
dressed  in  a long  chiton.  She  leans  her  weight  on  her  left  arm,  her 
right  is  raised  and  holds  a stick,  with  which  she  is  making  the  dog 
stand  on  his  hind  legs.  At  the  left,  a corner  of  a tripod  or  some 
similar  object  (this  does  not  appear  in  the  plate) . Above,  a row  of 
bosses. 

94.  Upper  part  of  a male  figure  facing  left.  Only  the  breast 
and  the  left  arm  are  preserved.  The  arm  is  raised  and  bent  at  the 
elbow,  and  over  it  is  thrown  the  end  of  a chlamys. 

95.  Head  and  torso  of  a female  figure  moving  to  left,  but  look- 
ing back.  The  right  arm  is  bent  at  the  elbow  and  raised,  the  hand 
grasps  an  indeterminate  object.  The  left  arm  is  thrown  out  behind. 
On  a level  with  the  neck  a laurel  leaf  pattern  ran  around  the  vase. 
At  the  right,  TIG,  Tig  {rani).  Above,  row  of  eggs  and  a plain 
moulding. 

Cf.  for  tbe  inscription,  C.I.L.  XI,  6700,  450. 

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ARRETINE  POTTERY 


96.  Part  of  a female  fi^re,  broken  at  neck  and  knees.  She  is 
dressed  in  a long  chiton,  with  apoptygma  and  kolpos.  Both  arms 
were  raised.  At  the  left,  an  indefinable  object.  At  the  right,  a twig. 

97.  Left  arm  and  thigh  of  a draped  female  figure.  The  arm  is 
bent  at  the  elbow,  the  hand  was  apparently  pressed  against  the  side. 

98.  Left  arm  and  part  of  left  side  of  a nude  male  figure.  At 
the  right,  a bit  of  foliage.  Above,  egg  and  dart,  row  of  bosses,  and 
plain  moulding. 

99.  Draped  female  figure,  running  or  dancing.  Only  the  torso, 
with  parts  of  one  arm  and  one  leg  are  preserved. 

Fragments  of  Vases 

100.  Fragment  of  the  lower  part  of  a bowl.  Before  a stand 
in  the  form  of  a rectangular  plinth,  ornamented  by  a torus  and  a 
grooved  pillar  tapering  toward  the  top  (probably  an  altar)  kneels 
a bull,  facing  left.  Below,  a band  of  alternating  rosettes  and  con- 
ventional calyxes,  and  two  flat  mouldings. 

The  subject  was  probably  the  common  one  of  Nike  sacriflcing 
a bull.  Cf.  Cecil  Smith,  “ Nike  sacrificing  a Bull,”  Journal  of 
Hellenic  Studies,  7 (1886),  pp.  275“-285;  Dragendorff,  B,  J.  96, 
pp.  69f. 

101.  Parts  of  two  figures.  At  the  left,  the  trunk  and  left  arm 
of  a nude  male  figure  in  front  view.  He  presses  his  left  hand  against 
his  side.  At  the  right  of  the  fragment,  a right  hand  and  part  of  a 
wing  (probably  from  a figure  of  Nike). 

102.  (Plate  XVI).  Standing  warrior,  head  and  feet  broken 
away.  His  left  foot  is  advanced  and  his  body  is  thrown  forward, 

[ 75  ] 


ARRETINE  POTTERY 


so  that  the  weight  rests  equally  on  both  feet.  His  left  hand  rests 
on  an  oval  shield  which  stands  beside  him,  his  right  arm  was  raised, 
and  the  hand  grasped  a spear.  The  muscles  throughout  are  ren- 
dered as  hard  and  knotty  masses,  but  with  many  minor  gradations. 
The  proportions  of  the  torso  are  poor,  the  waist  being  unnaturally 
small,  and  the  abdomen  unnaturally  long.  Nevertheless  the  whole 
has  a certain  largeness  of  effect.  The  shield  is  decorated  with  a bor- 
der of  simple  cross  lines  on  the  inside  of  the  rim;  in  the  center,  the 
metal  handle,  fastened  by  rivets,  is  carefully  represented;  and  be- 
tween the  handle  and  the  rim  are  spiral  and  zigzag  patterns. 

103.  (Plate  XVI).  Fragmentary  male  figure  carrying  a 
vase.  The  figure  is  broken  at  the  waist.  The  torso  is  in  full  front, 
the  head  in  profile  to  right.  The  right  arm  hangs  by  the  side,  the 
left  is  raised  and  steadies  the  vase,  which  is  held  on  the  left  shoulder. 
The  form  of  the  vase  is  that  of  a bell-shaped  crater,  with  small  foot 
and  large  mouth.  About  the  lip  and  the  lower  part  of  the  body 
are  incisions  at  regular  intervals,  which  give  it  the  appearance  of 
ribbed  ware,  similar  to  the  so-called  Etrusco-Campanian  vases.  At 
the  upper  corner  of  the  fragment,  traces  of  a tongue  pattern. 

104.  (Plate  XVI).  Woman  holding  a child  in  her  arms. 
Pose  and  drapery  are  exactly  like  those  of  the  similar  figiu’e  on 
No.  86,  and  the  two  probably  go  back  to  a common  stamp,  though 
No.  104  was  not  made  from  mould  86,  as  is  shown  by  the  deco- 
rative patterns  above  the  field — here  an  egg  and  dart  and  a row 
of  bosses. 

105.  (Plate  XVII).  Upper  part  of  female  figure  facing 
right.  The  right  shoulder  and  the  right  forearm  are  bare,  the  rest 

[ 76  ] 


ARRETINE  POTTERY 


of  the  body  is  covered  by  a heavy  robe,  treated  in  fine  and  graceful 
folds.  The  left  hand  holds  a jewel  box,  decorated  with  cross-hatch- 
ing, and  over  this  the  right  hand  is  extended,  as  if  the  woman  were 
preparing  to  take  a jewel  from  the  casket.  The  head  is  bent  for- 
ward, the  gaze  directed  toward  the  casket.  The  hair  is  gathered 
in  a knot.  Above,  a rosette  and  part  of  a palmette. 

106.  Forearms  and  flying  drapery  of  a female  figure  opening 
a casket  (or  possibly  playing  on  a pair  of  cymbals) . The  fragment 
is  too  small  to  admit  of  a certain  interpretation. 

107.  (Plate  XVII).  Man  carrying  a pig.  His  upper  body  is 
nude,  but  he  wears  a short  apron-like  garment  which  extends  from 
his  waist  to  below  his  knees,  and  there  are  traces  of  a chlamys  about 
his  shoulders.  The  subject  was  probably  a sacrifice. 

108.  Head  and  shoulders  of  a bearded  old  man  in  profile  to  left. 
His  hands  are  folded  in  front  of  him,  as  if  they  might  have  rested 
on  a staff.  The  mouth  is  slightly  open,  the  eyebrow  strongly  marked, 
the  gaze  directed  upward  as  if  in  supplication. 

109.  (Plate  XVII) . Female  (?)  flute-player  facing  left. 
The  figure  is  entirely  draped,  so  far  as  it  is  preserved — it  is  broken 
at  the  thigh.  The  woman  bends  forward  as  she  plays.  Each  of  the 
flutes  has  three  joints.  In  the  hair  is  a fillet.  Above,  three  double 
bosses  and  a hatched  moulding. 

110.  Upper  part  of  a draped  female  figure  facing  left.  The 
left  hand  is  extended  and  the  fingers  are  spread  out  as  if  the  woman 
were  holding  some  object,  but  owing  to  the  mutilated  condition  of 
the  fragment,  the  nature  of  this  object  cannot  be  determined.  The 
hair  is  unconfined  and  flies  out  behind. 

[ 77  ] 


ARRETINE  POTTERY 


111.  Fragment  of  a female  figure  in  front  view.  She  wears  a 
heavy  chiton,  which  covers  the  body  completely  and  was  apparently 
thrown  over  the  left  arm.  Her  right  arm  is  extended  and  held  an 
object,  now  indefinable.  The  sweeping  folds  of  the  dress  are  ren- 
dered with  considerable  skill. 

112.  (Plate  XVII).  Standing  male  figure  facing  right.  He 
leans  on  a long  staff,  placed  under  his  left  armpit,  and  raises  his 
right  hand  as  if  in  conversation  with  another  person.  He  wears  a 
sort  of  long  chlamys,  which  is  fastened  on  his  right  shoulder,  and 
covers  his  back  and  his  right  side.  The  folds  of  this  drapery  are 
worked  out  with  some  care,  the  nude  parts  are  carelessly  modelled. 

113.  (Plate  XVII).  Upper  part  of  a female  figure  in  full 
front,  carrying  on  her  head  an  indefinable  object.  At  the  left,  a 
quiver  ( ? ) , suspended  by  a strap  from  a laurel  leaf  pattern  which 
ran  around  the  vase  at  the  top  of  the  field. 

114.  Head  and  shoulders  of  a male  figure  facing  left.  The 
right  arm,  enveloped  in  heavy  drapery,  is  raised,  the  right  hand 
raises  an  end  of  the  robe.  Above,  a bit  of  egg  and  dart  moulding. 

115.  Head  of  a female  figure  facing  right.  The  hair  is  con- 
fined by  a veil.  The  right  arm  was  extended,  the  left  bent  at  the 
elbow.  Above,  tongue  pattern  and  row  of  bosses. 

116.  Helmeted  head  of  a male  figure  facing  left.  The  helmet 
is  thrust  back.  It  bears  a crest.  Above,  laurel  leaf  pattern,  tongue 
pattern,  and  two  concave  mouldings. 

117.  Small  fragment  of  a draped  female  figure. 

118.  Similar  fragment  of  a draped  figure. 

119.  Lower  part  of  the  right  leg  of  a figure  striding  to  right. 

[ 78  ] 


ARRETINE  POTTERY 

Three  grooves  represent  the  top  of  a high  boot.  At  the  left,  a trace 
of  the  left  leg. 

120.  Fragment  of  the  upper  portion  of  a large  bowl.  The  rim 
is  plain,  with  a simple  moulding  at  the  top.  The  main  field  is  set 
off  by  a simple  moulding  and  a row  of  bosses.  In  the  centre  of  the 
preserved  portion  of  this  field  stands  a tripod  with  ribbed  bowl  and 
ornamental  top,  similar  to  the  tripod  on  the  mould  with  the  kala- 
thiskos  dancers  (No.  53).  The  central  leg  is  adorned  with  a boss. 
The  ornamental  top  is  supported  by  a sphinx  over  the  central  leg 
and  by  palmettes  over  the  other  legs.  About  the  top  runs  a spiral. 
Between  bowl  and  top  there  are  two  rings.  At  each  side  of  the 
tripod,  near  the  top,  two  garlands  (conventional  laurel  leaf)  are 
attached,  one  running  horizontally  aroimd  the  bowl,  the  other  evi- 
dently suspended  between  this  tripod  and  another  similar  one.  In 
the  angle  formed  by  the  two  garlands,  a small  lyre  is  suspended. 
In  the  field  at  the  right  of  the  tripod  appears  the  head  of  a female 
figure  facing  right,  with  a quiver  (?)  on  her  back,  and  the  frag- 
mentary inscription  M,  probably  M.  {Perenni).  In  the  field  at 
the  left  of  the  tripod,  a fragment  of  a torch. 

121.  Of  the  principal  design,  only  the  upper  part  of  a tripod 
decorated  with  a laurel  leaf  pattern  is  preserved.  At  the  right  of 
this,  a hand  grasping  a staff.  Above,  Perenni.  Above  this,  a laurel 
leaf  pattern  and  part  of  a garland  of  leaves  and  fruits. 

For  the  signature,  cf.  C.I.L.  XI,  6700,  435  g,  h. 

122.  Male  head  to  left,  with  a part  of  one  shoulder  and  with 
drapery  fl5dng  out  behind.  Above,  egg  and  dart,  row  of  bosses, 
and  a plain  moulding.  Unglazed. 

[ 79  ] 


ARRETINE  POTTERY 


123.  Badly  worn  head  facing  right.  Above,  laurel  leaf  pattern, 
row  of  bosses,  and  a plain  moulding. 

124.  Head  and  shoulder  of  a female  figure  in  profile  to  right. 
Her  hair  is  covered  by  a veil.  Above,  N N (probably  part  of  the 
signature  Perenni;  cf.  C,I.L.  XI,  6700,  450  ^). 


[ 80  ] 


CLASS  II 


(a)  Danceks 
Complete  Mould 

125.  (Plate  V).  Mould  for  a round  bowl.  The  mould  was 
broken  in  two,  but  except  for  chipping  at  the  edges  of  the  fracture, 
is  practically  intact.  Diameter,  14.9.  Height,  7.6. 

The  surface  is  divided  into  two  fields  by  a row  of  bosses  and  a 
plain  moulding.  The  lower  field  occupies  roughly  one-third  of  the 
space.  It  is  bordered  below  by  a row  of  bosses  and  a plain  mould- 
ing. The  decoration  consists  of  three  Silenus  masks,  with  prominent 
forehead,  snub  nose,  puffed  out  cheeks,  pointed  ears,  and  short  beard, 
treated  in  six  knobby  masses.  Below  each  of  the  heads  the  ends  of 
a broad  fillet  appear,  and  each  is  connected  with  the  next  by  a gar- 
land of  vine  leaves  and  grapes.  These  garlands  are  worked  out  in 
great  detail  and  form  the  principal  decoration  of  the  field.  Above 
the  center  of  each  garland  is  a rosette. 

The  upper  field  is  bordered  at  the  top  by  a row  of  bosses.  It  is 
divided  into  five  roughly  equal  spaces  by  five  thyrsuses,  which  ex- 
tend from  the  lower  border  nearly  to  the  upper.  At  its  lower  ex- 
tremity, each  thyrsus  is  decorated  with  a rosette  and  with  two  smaller 
thyrsuses,  which  extend  obliquely  into  the  field.  At  the  center  of 
each  thyrsus,  there  are  two  tassel-like  ornaments,  extending  hori- 
zontally, one  on  either  side.  Garlands  (conventional  laurel  leaf) 

[ 81  ] 


ARRETINE  POTTERY 


are  hung  from  the  neck  of  each  thyrsus  to  the  next,  broken,  in  each 
case  at  the  center,  by  a single  hmrian  figure. 

The  five  figures  which  form  the  principal  part  of  the  decora- 
tion are: 

(a)  Dancing  male  figure,  clad  in  a short  exomis,  which  extends 
to  the  middle  of  the  thigh  and  leaves  the  right  side  bare.  The  legs 
are  in  profile  to  left,  the  upper  body  in  full  front,  the  head  in  profile 
to  right,  and  tilted  far  backward.  Both  arms  are  raised  above  the 
head.  The  backs  of  the  fingers  are  brought  together,  and  it  is  this 
feat,  apparently,  at  which  the  man  is  looking.  Above,  at  the  left 
of  the  figure,  the  signature  M.  Peren{ni) . 

{b)  Dancing  female  figure  in  thin  chiton,  which  clings  closely 
to  the  body  and  flies  out  in  large  masses  on  each  side.  The  legs  are 
in  profile  to  right,  the  body  in  three-quarters  view,  the  head  in  pro- 
file to  left  and  inclined  downward.  Both  arms  are  bare  and  are 
raised  above  the  head.  In  the  hands  are  castanets.  The  hair  is  in 
a knot  at  the  back  of  the  head. 

(c)  Male  flute-player  in  profile  to  left.  He  wears  a short  chiton 
and  a chlamys.  His  left  foot  rests  firmly  on  the  ground,  with  his 
right  he  beats  time  upon  a large  scabellum.  Both  arms  are  ex- 
tended, the  fingers  bent  as  he  plays.  Above,  at  the  right,  Tigrani. 

{d)  Male  dancer  in  exomis.  The  attitude  is  similar  to  that  of 
(b),  legs  in  profile  to  left,  body  in  full  front,  head  in  profile  to 
right,  gaze  directed  toward  the  feet,  arms  raised,  with  castanets  in 
the  hands. 

(e)  Female  dancer  in  voluminous  robe.  The  lower  part  of  the 
body  is  in  front  view,  the  upper  body  slightly  turned  to  the  left,  the 

[ 82  ] 


ARRETINE  POTTERY 


head  turned  to  the  right.  In  her  right  hand,  the  woman  holds  a 
large  triangular  harp,  on  which  she  is  playing  with  her  left  hand. 
Her  hair  is  in  a knot  behind. 

These  small  dancing  figures  are  very  common  on  Arretine  vases 
of  the  second  class.  Several  excellent  examples  occur  on  fragments 
of  moulds  in  the  Boston  Museum  of  Fine  Arts,  and  two  figures 
exactly  like  the  two  male  dancers  are  publ.  B.  J.  96,  pi.  5,  No.  49. 
For  the  signatures,  cf.  C.I.L.  XI,  6700,  450  n. 

Fragments  of  Moulds 

126.  (Plate  XI).  Small  male  figure  in  exomis  dancing  to 
left  and  playing  castanets.  The  figure  is  exactly  similar  to  {d)  on 
No.  125,  and  was  probably  made  with  the  same  stamp.  Under  the 
feet,  the  ground  is  indicated  by  a series  of  straight  lines,  from  which 
spring  plant  stalks  and  flowers.  At  the  right  are  a large  pine  cone 
and  an  altar  on  a base  ( ?) . Below,  a bit  of  conventional  laurel  leaf 
pattern  and  a single  rosette  (from  a band  of  rosettes  running 
around  the  mould) . Above,  two  fragments  of  laurel  leaf  pattern 
and  traces  of  an  egg  and  dart  moulding. 

127.  (Plate  XI).  Upper  part  of  a mould  for  a large  bowl. 
Of  the  decoration  of  the  principal  field,  only  a trace  of  the  head  of 
a single  figure  is  preserved.  Above  this,  and  separated  from  it  by 
a rope  pattern,  is  a smaller  frieze,  containing  a small  flute-player 
dancing  away  (to  right)  from  a closed  door.  The  figure  is  a cari- 
catm-e,  with  disproportionately  long  arms  and  legs,  prominent  ribs, 
and  hunch  back.  The  features  also  are  caricatured— the  head  over- 
long,  the  forehead  retreating,  nose  long  and  curved,  ear  misshapen 

[ 83  ] 


ARRETINE  POTTERY 


and  badly  set.  The  only  clothing  is  a loin-cloth  knotted  in  front. 
The  flute  is  of  the  usual  form  with  two  pipes.  Each  of  the  two 
valves  of  the  door  is  divided  into  two  panels  hy  a cross  piece 
studded  with  flve  large  bosses  (probably  intended  to  suggest  nail- 
heads)  ; in  the  center  of  each  panel  is  a large  double  boss,  which 
suggests  a bronze  ornament.  In  the  peak  of  the  gable  and  at  each 
of  the  outer  corners  of  the  doorway,  there  is  also  a round  boss. 
Above,  a row  of  double  bosses  on  a convex  moulding. 

128.  Head  and  arms  of  a female  dancer  (maenad?).  The  head 
is  thrown  back  in  ecstasy,  the  hair  dishevelled.  At  the  right,  part 
of  a conventional  acanthus  spray,  with  leaves  and  tendrils. 

129.  (Plate  XI).  At  the  right,  head  of  a dancer  (maenad?). 
At  the  left,  naturalistic  grapevine,  against  which  a thyrsus  leans. 
Above,  tongue  pattern  and  row  of  bosses. 

Fragments  of  Vases 

130.  Almost  one-half  of  a large  bowl,  foot  and  rim  missing. 
The  principal  field  is  set  off  by  an  egg  and  dart,  a row  of  bosses, 
and  a simple  moulding  at  the  top,  and  by  a band  of  rosettes  below. 
At  the  left  hand  side  of  the  field,  a lion’s  skin,  displayed,  with  head 
downward,  and  an  elaborate  knot  at  the  top  to  suggest  that  the 
skin  is  suspended  from  a support,  serves  to  divide  the  field  into  two 
halves.  In  the  preserved  portion,  two  female  dancers  and  part  of 
a third  appear.  The  first  moves  slowly,  on  tiptoe,  to  the  left,  turn- 
ing her  head  to  look  toward  her  companion.  Her  right  arm  is  ex- 
tended, her  left  is  lowered  and  grasps  the  skirt  of  her  chiton.  The 
second  dancer  moves  rapidly  to  the  left,  her  entire  body  hidden 

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ARRETINE  POTTERY 


behind  the  folds  of  a long  robe,  which  she  holds  in  her  raised  hands. 
Between  the  two,  a bit  of  conventional  laurel  leaf  pattern,  and  above 
it,  the  inscription  P.  Cornel{i),  badly  rubbed.  Of  the  third  figure, 
only  the  feet  are  preserved.  This  dancer  carried  a lyre  in  her  right 
hand.  Below  the  lyre  appears  some  object,  now  unrecognizable. 
The  whole  vase  is  very  carelessly  executed,  and  seems  to  have  been 
made  from  an  old  and  badly  worn  mould. 

Cf.  Nos.  223,  244,  245,  279-304.  For  the  inscription,  cf.  C.I.L. 
XI,  6700,  204  n. 

131.  (Plate  XXI).  At  the  right  hand  side  of  the  fragment,  a 
woman  dances  toward  the  right.  She  wears  a short  chiton  reaching 
only  to  the  knees,  and  high  boots  with  flaps  at  the  top.  Over  the 
chiton  is  thrown  an  animal’s  skin.  The  left  arm  is  lost,  the  right  is 
thrown  out  behind.  The  rest  of  the  field,  so  far  as  it  is  preserved, 
is  occupied  by  a spray  of  conventional  foliage,  from  which  spread 
long  tendrils  with  grapes,  grape  leaves,  and  pointed  staffs  with 
spii’als.  Above  the  field,  egg  and  dart,  row  of  bosses,  and  strongly 
projecting  moulding. 

132.  Fragment  of  the  lower  part  of  a bowl.  Below,  four 
rosettes  from  a border.  Above  these,  two  large  oak  leaves  rising 
from  the  ground,  and  the  feet  and  lower  legs  of  two  female  figures. 
Both  stand  on  tiptoe  and  were  probably  dancers  of  the  usual  type. 

133.  Lower  part  of  a pyxis.  At  the  bottom,  three  projecting 
mouldings.  The  main  field  was  set  off  by  a moulding  in  low  relief. 
Above  this  appear  the  feet  and  legs  of  a figure  on  tiptoe  to  left. 
The  figure  is  broken  just  above  the  knees,  where  the  lower  edge  of 
a short  chiton  can  be  seen.  To  right  and  left  are  what  appear  to  be 

[ 83  ] 


ARRETINE  POTTERY 


parts  of  sprays  of  conventional  foliage  (possibly  the  curving  wings 
of  a Nike  or  some  similar  figure).  Below,  at  the  right,  the  lower 
part  of  a fioral  ornament. 

134.  Above  three  simple  mouldings,  the  feet  and  part  of  the 
legs  of  a figure  standing  on  tiptoe.  Behind  the  figure,  a plant 
stem.  In  front  of  it,  an  elaborate  vine,  which  twines  up  over  the 
surface  of  the  vase,  and  has  a lyre  suspended  from  it.  Beyond  this, 
two  naturalistic  plant  stalks. 

135.  Nearly  half  of  a large  bowl;  the  foot  is  complete.  The 
principal  field  is  set  off  by  a band  of  four-petalled  flowers.  It  was 
divided  into  four  parts  by  large  masks  of  Pan,  which  have  large 
curving  horns  like  volutes  and  long  beards  with  groups  of  three 
bosses  below  them.  From  one  mask  to  the  next  hangs  a festoon  of 
flowers  and  fruits,  to  which,  at  the  sides  of  the  masks  and  above 
them,  hunches  of  grapes  are  added.  At  the  center  of  one  of  the 
spaces  between  the  masks,  the  feet  and  one  hand  and  a hit  of 
the  head  of  a figure  dancing  to  right  can  be  seen.  Above  it  and 
to  the  right,  the  signature  Bithynus.  Of  the  figure  in  the  next 
field,  a small  part  of  one  foot  is  preserved.  Above,  a band  of  bosses 
(alternately  two  and  one)  and  a broad  hatched  moulding. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  451  v,  w. 

(b)  Hunting  Scenes 
Fragments  of  Moulds 

136.  (Plate  VI).  More  than  half  of  a mould  for  a shallow 
bowl.  Diameter,  15.  Height,  6.5.  The  principal  field  is  set  off  by 

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ARRETINE  POTTERY 


a plain  moulding  below  and  by  an  egg  and  dart  and  a plain  mould- 
ing above.  It  was  divided  into  four  parts  by  four  naturalistic  trees ; 
three  of  these  are  preserved,  all  from  the  same  stamp.  The  tree  is 
apparently  a palm.  It  has  two  fish  suspended  from  one  of  the  limbs. 
Of  the  four  fields  set  off  by  the  trees,  two  and  a small  part  of  a 
third  appear  in  the  fragment. 

The  subject  is  a hunting  scene,  but  it  is  composed  with  little 
or  no  regard  to  the  proper  relations  of  the  component  parts.  The 
first  field  (at  the  left)  contains  a lion  rampant  and  a bear  standing 
on  his  hind  legs,  both  moving  to  right.  The  lion  is  very  small  in 
proportion  to  the  bear,  and  he  is  placed  far  above  the  base  line,  so 
that  he  seems  to  be  leaping  through  the  air.  The  detail  is  careful, 
especially  in  the  rendering  of  the  bear’s  shaggy  coat.  The  second 
field  contains  a himtsman  on  a rearing  horse  and  a bear,  both  facing 
right.  The  huntsman  thrusts  at  the  bear  with  a long  spear.  Again, 
huntsman  and  horse  are  remarkably  small  in  proportion  to  the  bear, 
and  like  the  lion  in  the  first  field,  they  are  placed  far  above  the  base 
line.  The  ground,  however,  is  here  indicated  under  the  horse’s  feet. 
The  detail  again  is  good.  The  huntsman’s  sleeved  jacket,  high 
boots,  and  leather  ( ? ) cap,  fastened  under  the  chin  by  a strap,  all 
come  out  clearly.  In  the  third  field  there  are  traces  of  a second 
horseman  and  a third  bear. 

In  regard  to  hunting  scenes  on  Arretine  vases,  cf.  Not.  Scav. 
1884,  pp.  376f.;  B.  J.  96,  pp.  73-75  and  103,  p.  89. 

137.  (Plate  XI) . A nude  male  figure  in  three-quarters  back 
view  rushes  to  the  right,  swinging  an  axe  in  his  raised  right  hand. 
Over  his  back  the  strap  of  a baldric  passes  obliquely,  and  a cloak 

[ 87  ] 


ARRETINE  POTTERY 


thrown  over  his  left  arm  flutters  in  the  wind.  The  animal  he  is 
attacking  appears  from  the  traces  that  are  preserved  to  be  a hear. 
On  a level  with  the  waist  of  the  figure  is  a laurel  leaf  pattern.  Above, 
a band  of  rosettes. 

The  figure  is  identical  with  one  on  a mould  in  Arezzo,  publ.  Not. 
Scav.  1884,  pi.  8,  No.  3.  There  the  hunter  swings  his  axe  against  a 
bear  which  has  overthrown  one  of  his  companions;  the  subject  of 
No.  137  was  probably  the  same. 

138.  (Plate  XI).  A boar,  charging  to  left,  rushes  upon  a 
spear  held  by  a young  man  who  crouches  behind  a tree.  Only  the 
head  of  the  man  is  preserved.  Of  the  boar,  the  head  and  about  half 
the  body  appear  in  the  fragment.  A dog  has  sprung  to  the  boar’s 
back  and  seizes  him  by  the  ear.  Below,  two  stalks  rise  from  the 
ground.  Above  the  boar,  in  large  letters,  ERE,  {P)ere{nni). 
At  the  top  of  the  field,  a band  of  rosettes  and  a plain  moulding. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  450  g. 

139.  (Plate  XI).  A man  rushes  forward  toward  the  right. 
His  left  arm  is  raised,  and  in  his  left  hand  he  grasps  the  handle  of 
an  axe.  In  front  of  him,  two  scraggy  bushes.  Beyond,  at  the  right, 
the  head  and  shoulders  of  an  animal.  Above,  G R,  probably  part 
of  the  signature  {Ti)gr{ani).  At  the  top  of  the  field,  a band  of 
rosettes. 

Cf.  B.  J.  96,  pi.  4,  No.  13,  and  for  the  inscription,  C.I.L.  XI, 
6700,  450  g. 

1 40.  In  the  centre,  a gnarled  tree.  At  the  right,  head  and  neck 
of  a dog,  facing  left.  At  the  left,  head  of  a bear  ( ? ) Above,  a row 
of  bosses. 


[ 88  ] 


ARRETINE  POTTERY 


Fragments  of  Vases 

141.  Man  attacked  by  a panther.  Only  the  head  of  the  man 
(at  the  left)  and  the  head  and  the  shoulder  of  the  panther  (at  the 
right)  are  preserved.  Above,  a row  of  bosses  and  two  plain  mould- 
ings. 

142.  Male  head,  broken  at  neck.  The  hair  is  represented  by  a 
series  of  deep  incisions  and  rises  straight  above  the  forehead  in  a 
way  that  recalls  the  head  of  the  Apoxyomenos.  The  eye  is  wide 
open,  the  gaze  directed  downward,  as  if  the  man  were  engaged  in 
a fight  with  an  animal.  Behind  the  head,  a bit  of  drapery  suggests 
that  one  arm  was  probably  raised  and  held  a weapon.  Above,  two 
simple  mouldings  and  a fragment  of  laurel  leaf  pattern. 

(e)  Chariot  Scenes 

Fragment  of  Mould 

143.  (Plate  XI).  From  a chariot  scene.  Only  the  face  and 
the  left  forearm  of  the  driver,  the  reins,  held  in  the  left  hand,  and 
the  line  of  the  hind  quarters  of  a horse  are  preserved.  Above,  laurel 
leaf  pattern  and  two  plain  mouldings. 

Fragments  of  Vases 

144.  (Plate  XVII).  In  a small  chariot  (wheel  with  six 
spokes),  a man  drives  toward  the  right.  He  is  dressed  in  a short, 
sleeved  chiton.  In  his  left  hand,  he  holds  the  reins,  which  are  also 
wound  about  his  waist.  His  right  arm  is  raised  above  his  head, 
and  holds  a whip.  His  face  is  turned  toward  the  spectator.  Of 

[ 89  ] 


AKRETINE  POTTERY 


the  horses  only  the  hind  quarters  and  the  hind  legs  are  preserved. 
The  modelling  throughout  is  careless,  the  proportions,  especially 
those  of  the  man’s  right  arm  and  the  horses’  legs,  absurd.  Below, 
a plain  moulding. 

Cf.  Fabroni,  pi.  3,  No.  7. 

145.  Small  fragment  with  part  of  a chariot.  Only  a little  of 
the  chariot  box  and  part  of  a four-spoked  wheel  are  preserved.  The 
spokes  are  decorated  with  rings. 

146.  (Plate  XVII).  Fragmentary  figure  of  a charioteer, 
broken  at  the  knees.  He  wears  a heavy  robe,  which  is  wound  about 
his  waist  and  falls  in  heavy  folds  over  his  legs.  On  his  head  is  a 
crested  helmet.  The  proportions  are  bad,  especially  the  heavy  right 
arm. 

147.  Heads  and  forelegs  of  two  horses  running  to  left. 

148.  Hind  quarters  and  legs  of  two  horses,  with  a chariot  pole 
and  box,  and  part  of  the  rim  of  one  wheel.  The  chariot  box  is  deco- 
rated with  spirals. 

149.  Forelegs  of  two  horses  running  to  left. 

(d)  Battle  Scenes 
Fragments  of  Vases 

150.  (Plate  XVII).  Fighting  warrior  hastening  toward  the 
right.  Only  the  body  from  neck  to  knees  appears  in  the  fragment. 
The  warrior  wears  a short  chlamys,  which  can  be  seen  in  front  of 
his  neck  and  at  his  left  side.  On  his  left  arm  he  carried  a shield, 
part  of  which  is  preserved,  and  in  his  right  hand  he  grasps  a long 

[ 90  ] 


ARRETINE  POTTERY 


sword  as  if  for  a thrust.  The  pommel  and  the  guard  of  the  sword 
are  carefully  represented.  Between  the  legs  of  the  figure  and  at 
the  right  of  it  are  plant  forms. 

151.  (Plate  XVII ) . Upper  part  of  male  figure  with  arms 
raised.  The  figure  is  nude  except  for  a bit  of  drapery  which  falls 
from  the  left  arm.  The  breast  is  in  full  front,  the  head  turned  so 
that  it  appears  in  profile  against  the  shoulder.  The  hands  grasp 
a stone. 

152.  (Plate  XVII).  A bearded  man  of  remarkably  slender 
proportions  has  seized  a fallen  man  by  the  left  arm,  and  drags  him 
away  toward  the  right.  The  bearded  man  is  represented  in  front 
view,  but  his  head  is  in  profile  to  left;  he  seems  to  be  gazing  over 
his  shoulder  at  a band  of  pursuers.  His  right  arm  was  extended 
in  the  same  direction.  Of  the  fallen  warrior  only  the  right  arm 
(which  the  bearded  man  has  seized  by  the  wrist),  the  head  and  the 
left  hand  (on  the  ground  beside  the  bearded  man’s  foot)  are  pre- 
served. To  the  right  of  this  group,  in  the  lower  part  of  the  frag- 
ment, the  hand  and  the  bow  of  a third  warrior  appear. 

153.  (Plate  XVII ) . Wounded  warrior  carried  off  by  a com- 
rade. Only  the  right  leg  of  the  wounded  man  and  the  right  arm 
of  his  companion  appear  in  the  fragment.  The  uninjured  warrior 
is  apparently  carrying  the  wounded  man  on  his  shoulder.  Below 
the  figures,  at  the  left,  plant  stems ; at  the  right,  part  of  a tree. 

154.  (Plate  XVIII).  A man  strides  away  toward  the  right. 
So  far  as  the  figure  is  preserved  (the  head  and  the  upper  part  of  the 
torso  have  been  broken  away),  he  is  undraped,  but  a long  cloak, 
of  which  the  folds  are  visible  behind  the  left  leg,  evidently  was 

[ 91  ] 


ARRETINE  POTTERY 


thro\Mi  over  his  left  arm.  Behind  this  figure,  at  the  left,  the  leg 
and  a piece  of  the  drapery  of  a fallen  warrior  can  be  seen.  The 
ground  beneath  the  figures  is  indicated  by  curving  lines.  On  it,  be- 
low the  fallen  warrior,  is  a spear.  At  the  right  hand  side  of  the 
fragment  appears  the  foot  of  a third  warrior.  The  field  is  bordered 
below  by  two  plain  mouldings  and  a row  of  bosses. 

155.  Small  trumpeter  facing  left.  The  right  arm  is  extended 
and  supports  a large  trumpet,  almost  as  long  as  the  figure  is  high, 
on  which  the  man  is  playing.  The  left  arm,  enveloped  in  drapery, 
swings  by  the  side,  counterbalancing  the  weight  of  the  trumpet. 
The  execution  is  careless.  At  the  left  of  the  figure  is  a comic  mask, 
made  separately  and  apphed.  The  features  are  those  of  a satyr, 
^vith  snub  nose  and  hea-v’y’-  eyebrows.  In  the  hair  there  is  a garland, 
with  a long  end  hanging  down  beside  the  ear. 

156.  Lower  legs  of  a standing  figure,  resting  firmly  on  the  right 
leg,  with  the  left  set  back  and  touching  the  ground  with  the  toes 
only.  Of  the  dress,  only  the  lower  part  appears,  falling  in  folds 
below  the  knee.  In  front  of  this  figure  a part  of  another  can  be 
seen — a man  fallen  to  the  ground  and  huddled  together,  with  his 
legs  drawn  up  under  him. 


(e)  Centatjromachy 
Fragment  of  Mould 

157.  (Plate  XII).  The  Lapith  has  forced  the  Centaur  to  the 
ground  and  presses  his  left  knee  into  his  back.  With  his  left  hand 
he  seizes  the  Centaur’s  head,  and  draws  back  his  right  arm  to  deliver 

[ 92  ] 


ARRETINE  POTTERY 


a blow  with  the  short  sword  which  he  holds  in  his  right  hand.  The 
Centaur  grasps  the  Lapith’s  forearm  with  his  left  hand  in  a vain 
endeavor  to  free  himself.  With  his  right,  he  snatches  at  the  Lapith’s 
fingers.  On  a level  with  the  neck  of  the  Lapith,  a laurel  leaf  pattern 
ran  around  the  vase.  Above,  a row  of  bosses  and  a plain  moulding. 
Between  laurel  leaf  pattern  and  bosses,  M.  PERE,  M.  Pere{nni). 
The  mould  is  badly  rubbed,  but  the  figure  of  the  Lapith  is  well 
modelled. 

On  the  subject  of  the  Centauromachy  on  Arretine  vases,  cf.  B.  J. 
96,  pp.  79f.  This  group  is  similar  to  those  on  the  moulds  publ.  ibid. 
pi.  4,  No.  27,  and  pi.  5,  No.  30,  the  difference  being  that  the  sword 
is  differently  held.  For  parallels  in  other  materials,  cf.  Campana, 
Opere  in  Plastica,  pi.  65  (terra-cotta  relief) ; Arneth,  Gold-  und  Sil- 
bermonumente  der  k.  k.  Sammlungen,  pi.  S.  XI,  1 (silver  vase  in 
Munich) . For  the  inscription,  cf.  C.I.L.  XI,  6700,  435. 


(f)  Miscellaneous  Subjects 
Fragments  of  Moulds 

158.  In  the  principal  field,  the  heads  and  forearms  of  two  men 
facing  right  are  visible.  One,  an  elderly,  baldheaded  man  (per- 
haps a Silenus)  plays  on  a flute.  The  other  man  has  a cymbal 
in  his  hand.  The  subject  was  probably  a Bacchic  procession. 
Above,  the  field  is  bordered  by  a band  of  flower  palmettes  laid 
on  their  sides. 

159.  (Plate  XII).  From  the  lower  part  of  a large  mould. 

[ 93  ] 


ARRETINE  POTTERY 


At  the  bottom,  between  two  simple  mouldings,  a laurel  leaf  pattern 
with  rosettes  at  intervals.  Above,  in  the  main  field,  a goat  ( ? ) walk- 
ing to  right,  turning  his  head  to  look  backward.  About  his  neck 
is  a cord,  with  a tassel  attached.  The  subject  was  probably  a sac- 
rifice. At  the  right,  the  foot  of  a figure  walking  toward  the 
right. 

160.  (Plate  XV).  The  surface  of  the  bowl  was  divided  into 

several  fields  by  rainbow  shaped  bands  in  two  ranges,  one  above  the 
other.  In  the  lower  range,  one  of  these  bands  is  preserved  almost 
entire,  in  the  upper  range,  more  than  half  of  another.  The  ends 
of  the  bands  are  decorated  with  rosettes.  The  field  enclosed  by  the 
band  in  the  lower  range  is  decorated  with  the  fore  part  of  a buU, 
prancing  to  right.  The  body  is  cut  off  just  behind  the  shoulder 
by  a curving  row  of  flower  petals.  Below  this  field,  a row  of  bosses 
ran  around  the  vase.  Outside  the  dividing  band,  the  surface  is 
slightly  rippled,  and  this  rippling  extended  to  the  next  dividing 
band  on  either  side— the  beginning  of  one  of  them  is  visible  on  the 
right.  In  the  field  set  off  by  the  dividing  band  in  the  upper  range 
is  a female  bust  facing  left.  Of  the  dress  only  a small  piece  of  the 
chiton  appears,  where  the  edges  meet  over  the  left  shoulder.  The 
hair  is  tied  in  a knot  and  confined  by  a fillet.  Below,  the  bust  is 
bordered  by  a row  of  petals.  At  the  right  of  this  field,  filling  the 
space  between  two  dividing  bands,  is  a group  representing  a half 
nude  woman,  whose  drapery  is  pulled  aside  by  a small  boy  (Venus 
and  Cupid  ? ) . The  female  figure  is  only  partially  preserved. 

Above,  egg  and  dart  moulding  and  a row  of  bosses. 

161.  In  the  principal  field,  at  the  left,  a spray  of  conventional 

[ 94,  ] 


ARRETINE  POTTERY 


foliage  and  a large  bud,  at  the  right,  a delicately  modelled  wing 
(probably  from  a figure  of  Nike  or  Eros).  Above,  a border  of 
fruits  and  flowers. 

162.  The  lower  edge  of  the  principal  field  is  marked  by  two 
simple  mouldings.  On  these,  and  partly  covering  the  upper  one, 
rests  an  elaborate  ornament,  consisting  of  pairs  of  volutes  diminish- 
ing in  size  toward  the  top.  At  the  left,  an  end  of  flying  drapery, 
and  at  the  right  a bit  of  drapery  and  a bent  elbow  suggest  that  the 
volute  ornament  alternated  with  human  figures. 

Cf.  No.  365. 

163.  In  the  principal  field,  a female  head  facing  left  is  aU  that 
remains  of  the  figures.  The  hair  is  confined  by  a veil,  and  below  the 
neck  there  is  a trace  of  a heavy  mantle.  At  either  side  of  the  head, 
a branch  of  olive  leaves  with  a fillet  attached  to  the  end  runs  off 
obliquely.  Above,  a band  of  rosettes,  an  egg  and  dart,  and  a row 
of  bosses. 

164.  At  the  left,  a head  in  profile  to  right.  At  the  right,  a spray 
of  conventional  foliage. 

165.  At  the  right,  the  arm  of  a male  figure,  at  the  left  a large 
leaf.  On  a level  with  the  elbow  of  the  male  figure,  a laurel  leaf  pat- 
tern passed  around  the  mould.  Above,  a tongue  pattern  and  a plain 
moulding. 

166.  From  the  lower  part  of  a mould  for  a large  bowl.  In  the 
principal  field,  the  feet  of  a figure  moving  to  the  right  and  a sug- 
gestion of  a background  can  be  recognized.  Below,  a conventional 
laurel  leaf  pattern  and  a band  of  rosettes  on  a plain  moulding  set 
off  a lower  field,  which  is  decorated  with  conventional  acanthus  foh- 

[ 95  ] 


AKRETINE  POTTERY 


age — a large  leaf  alternates  with  a small  leaf  topped  by  a pointed 
staff  with  spirals. 

167.  Above  a row  of  hatched  rings,  a heap  of  stones  supports  a 
rectangular  base,  probably  that  of  an  altar.  At  the  left,  a frag- 
ment of  rope  pattern. 


Fragments  of  Vases 

168.  (Plate  XVIII).  At  the  left  hand  side  of  the  fragment,  a 
warrior.  On  the  head,  which  is  in  profile  to  left,  is  a helmet  with  a 
waving  crest.  The  body  is  in  three-quarters  view  and  carefully 
modelled.  The  left  arm  hangs  at  the  side,  the  right  was  extended. 
Behind  the  warrior,  at  the  right  hand  side  of  the  fragment,  the  upper 
comer  of  a support,  decorated  with  a rosette  and  a crown  of  small 
leaves,  with  a pointed  staff  with  spirals  set  obliquely  at  one  comer. 
Above  this,  a small  Cupid,  apparently  running  toward  the  right. 
His  right  leg  is  drawn  up  under  him,  his  left  leg  is  extended  straight 
forward.  The  right  arm  also  is  extended.  The  head  is  completely 
covered  by  a sort  of  veil  which  flies  out  behind.  Between  these  two 
figures,  at  the  lower  edge  of  the  fragment,  a rosette,  in  the  upper 
part,  an  elaborate  festoon  of  fruits  and  flowers.  Above  the  head 
of  the  Cupid,  the  inscription  Rodo.  Above  this,  an  egg  and  dart 
(broken  by  the  helmet  of  the  male  figure) , a row  of  bosses,  and  the 
projecting  edge  of  the  upper  part  of  the  vase,  decorated  with  two 
hatched  bands  in  rehef. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  247. 

169.  (Plate  XVII).  Male  figure  in  high-girt  chiton,  walking 

[ 96  ] 


ARRETINE  POTTERY 


to  right.  Over  the  arms  are  thrown  the  ends  of  the  himation,  which 
was  draped  about  the  back.  In  his  left  hand,  the  man  carries  a long 
staff,  resting  it  on  his  shoulder.  The  staff  appears  to  be  of  twisted 
metal.  In  his  right  hand,  which  swings  at  his  side,  he  also  holds  an 
object,  but  the  nature  of  this  is  not  clear  (see  note  below).  At  the 
left  hand  side  of  the  fragment,  behind  the  figure,  the  capital  of  a 
column  and  above  it  the  inscription  Cornel  {i) . From  either  end  of 
the  rectangle  which  carries  the  inscription  hangs  a fillet. 

An  identical  figure  is  published  by  Fabroni,  pi.  3,  No.  3.  The 
object  which  the  man  holds  in  his  right  hand  is  here  a pitcher,  and 
this  is  probably  the  explanation  of  the  object  in  the  right  hand  of 
our  figure.  Cf.  for  the  inscription,  C.I.L.  XI,  6700,  204  m. 

170.  At  the  right  hand  side  of  the  fragment,  the  upper  part  of 
a spiral  pillar  with  capital.  Above  this,  the  inscription  (P.)  Cor- 
ne{li).  From  each  end  of  the  rectangle  which  contains  the  inscrip- 
tion hangs  a broad  fillet.  At  the  left  hand  side  of  the  fragment, 
the  hips  and  thighs  of  a nude  male  (?)  figure  in  three-quarters 
view  from  behind  can  be  made  out.  A part  of  the  right  forearm 
and  hand  is  also  preserved.  The  arm  is  bent  at  the  elbow  and 
the  hand  holds  a scabbard,  from  which  the  pommel  and  the  handle 
of  a sword  project.  The  sword  belt  is  carefully  rendered,  hanging 
from  the  scabbard.  Above,  egg  and  dart,  row  of  bosses,  and  plain 
moulding. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  204  m. 

171.  Fragment  from  the  upper  part  of  a large  bowl.  In  the 
principal  field,  the  head  of  an  armed  man  in  profile  to  right  is  pre- 
served. His  hair  is  bound  by  a fillet,  with  ends  standing  out  behind 

C 97  ] 


ARRETINE  POTTERY 

in  rather  conventional  zigzags.  In  his  left  hand—the  fingers  can  be 
seen — he  carried  a short  javelin,  resting  it  on  his  shoulder.  Behind 
him  appear  two  loops  of  a fillet  and  a bit  of  garland.  Above,  egg 
and  dart,  row  of  bosses,  several  mouldings  (one  plain,  the  rest 
hatched),  and  the  plain  bell  shaped  side  of  the  rim  of  the  vase, 
topped  by  a projecting  lip  with  a hatched  moulding  at  top  and 
bottom. 

172.  (Plate  XVIII).  Below  the  principal  field,  a row  of  con- 
ventional acanthus  leaves.  In  the  principal  field,  at  the  left,  the 
lower  part  of  a group  representing  a woman  driving  a pig  toward 
the  right ; at  the  right,  the  feet  of  a male  figure  walking  toward  the 
right.  The  subject  w^as  probably  a sacrifice. 

173.  At  the  right,  part  of  an  altar  (?)  surmounted  by  a cornice. 
At  the  left,  the  left  hand  of  a draped  figure  holding  a staff  pointing 
downward.  In  the  field,  the  end  of  a fillet  and  a fragment  of  con- 
ventional laurel  leaf  pattern. 

174.  (Plate  XVIII).  Female  lyre  player  moving  toward  the 
right.  The  figure  is  dressed  in  chiton  and  himation.  One  end  of 
the  himation  flies  out  behind  and  ends  in  a small  knob.  The  face 
was  apparently  in  full  front,  but  was  rubbed  in  moulding  and  quite 
destroyed.  The  lyre  is  very  summarily  indicated  and  the  manner  in 
which  it  is  held  is  not  clear;  both  arms  appear  to  be  in  front  of  the 
instrument  (probably  due  to  the  use  of  separate  stamps  for  the  lyre 
and  the  figure).  On  either  side  of  the  figure  is  a garland  (laurel 
leaf  pattern),  which  meets  the  figure  at  the  level  of  the  breast.  At 
the  left  edge  of  the  fragment,  this  garland  ends  in  a palmette- 
shaped  ornament,  probably  part  of  the  decoration  of  a column.  At 

[ 98  ] 


ARRETINE  POTTERY 

the  juncture,  a fillet.  Above,  egg  and  dart  and  part  of  a row  of 
bosses. 

175.  (Plate  XVIII).  Female  figure  facing  left  (broken  at 
the  middle  of  the  thigh).  She  is  dressed  in  a sleeveless  chiton  and 
a himation,  and  holds  in  her  right  hand  a lyre,  which  she  is  strum- 
ming with  the  fingers  of  her  left  hand.  Her  hair  is  gathered  into  a 
loose  knot  at  the  neck.  On  a level  with  the  forehead  and  the  shoul- 
der of  the  figure  are  laurel  leaf  patterns  which  passed  around  the 
vase.  In  front  of  the  figure  appears  part  of  a three  pronged 
ornament — the  central  prong  in  the  form  of  a cross — support- 
ing two  crossed  staffs,  similar  to  shepherds’  crooks.  Above,  egg 
and  dart. 

Cf.  B.  J.  96,  pi.  4,  Xo.  7. 

176.  (Plate  XVII).  Muse  (?).  The  center  of  the  fragment 
is  occupied  by  a female  figure  in  front  view,  but  with  the  head  in 
profile  to  right.  She  is  fully  draped  in  chiton  and  himation,  and  the 
folds  of  the  garments  are  represented  with  some  care.  The  right 
arm  hangs  at  the  side,  the  left  is  bent  at  the  elbow,  and  in  the  left 
hand  is  what  appears  to  be  a tragic  mask.  At  the  right  and  the 
left  of  this  figure  are  bits  of  floral  ornaments.  A laurel  leaf  pat- 
tern runs  across  on  a level  with  the  neck  of  the  figure.  Above, 
tongue  pattern  and  plain  moulding. 

177.  ( Plate  XVIII ) . At  the  right,  a female  figure  is  preserved 
as  far  as  the  waist.  She  raises  her  right  hand  and  strikes  a tam- 
bourine, of  which  the  outline  can  be  seen  at  the  extreme  right.  The 
head  is  in  full  front,  so  that  the  woman  looks  backward  over  her 
shoulder.  At  the  left,  traces  of  a conventional  garland,  caught  up 

[ 99  ] 


ARRETINE  POTTERY 


in  the  center.  Above,  a band  of  rosettes,  the  signatures  M.  Peren 

(ni)  Crescent  {is),  a row  of  large  bosses  decorated  with  concentric 
rings,  and  three  plain  mouldings. 

Cf.  for  the  inscriptions,  C.I.L.  XI,  6700,  438. 

178.  In  the  principal  field,  a rectangular  pillar,  finished  off  at 
the  top  with  six  simple  mouldings  (two  hatched)  supports  a basket 
filled  with  fruits  and  fiowers.  At  the  left  of  the  pillar,  a fragment 
of  conventional  laurel  leaf  pattern,  at  the  right,  part  of  a female 
head.  Above,  egg  and  dart,  row  of  bosses,  and  a moulding  covered 
with  a scale  pattern. 

179.  Upper  part  of  a male  figure  in  three-quarters  view  to  right. 
The  dress  consists  of  a himation  thrown  over  the  left  shoulder  and 
around  the  right  hip,  leaving  the  right  breast  and  arm  bare.  The 
right  hand  rests  on  the  hip,  the  left  holds  a mask,  toward  which  the 
gaze  is  directed.  The  head  is  in  profile.  At  the  right  of  the  figure, 
a tendril ; above,  a conventional  festoon. 

180.  Small  parts  of  two  figures  are  preserved — at  the  left  hand 
side  of  the  fragment,  a bent  left  elbow  and  part  of  a right  hand 
holding  a mask;  at  the  right  hand  side,  a raised  forearm  holding  a 
rhyton.  Between  the  two  figures,  an  elaborate  conventional  orna- 
ment, made  up  of  curving  leaves  and  buds.  Above,  an  egg  and 
dart  and  a row  of  bosses  mark  the  top  of  the  body  of  the  vase.  The 
rim  has  the  usual  plain  mouldings. 

181.  (Plate  XVIII ) . Female  figure  in  close  fitting  robe  bend- 
ing toward  the  left.  The  head  and  the  arms  are  lost,  so  that  the 
action  of  the  figure  cannot  be  determined.  The  form  is  remarkably 
slender.  At  the  right,  a large  conventional  rose  on  a conventional 

[ 100  ] 


ARRETINE  POTTERY 


stalk.  Above,  a row  of  bosses  on  a plain  moulding,  and  a hatched 
moulding  between  two  plain  ones. 

182.  (Plate  XVII).  Two  female  figures  running  toward  the 
left.  The  first  carries  in  her  hands  a rectangular  object,  a box  or  a 
tablet.  Careless  execution. 

183.  Badly  mutilated  figure  in  profile  to  right.  The  edge  of  the 
chiton  can  be  distinguished  just  above  the  knee.  The  right  arm  is 
bent  at  the  elbow  and  raised  in  front  of  the  body,  the  left  holds  a 
bunch  of  grapes. 

184.  (Plate  XVII) . From  the  lower  part  of  a small  bowl.  The 
lower  field  is  filled  with  a crown  of  conventional  acanthus  leaves, 
and  set  off  from  the  main  field  by  a band  of  ivy  leaves  laid  on  their 
sides  and  a plain  moulding.  Above  this,  in  the  principal  field,  the 
legs  and  one  hand  of  a male  figure  are  preserved.  He  stands  on  a 
rectangular  platform  and  pours  some  liquid  into  a crater.  Behind 
the  figure,  a rectangular  object  on  the  ground.  In  front,  at  the 
right  hand  edge  of  the  fragment,  a bit  of  drapery. 

185.  Smaller  fragment  from  a similar  vase.  The  platform 
on  which  the  man  stands  is  marked  off  into  squares.  At  the 
right,  the  foot  and  part  of  the  drapery  of  a female  figure  can 
be  seen. 

186.  On  a projecting  moulding,  evidently  meant  to  represent 
the  ground,  a man  pulls  toward  the  left.  His  right  leg  is  sharply 
bent,  his  left  leg  extends  straight  out  behind  him  and  is  represented 
in  front  view.  His  chiton  is  girded  high,  reaching  only  to  the  middle 
of  the  thigh.  The  figure  is  broken  at  the  waist,  but  the  left  forearm 
is  preserved,  also  pulling  vigorously  toward  the  left.  Behind  him, 

[ 101  ] 


ARRETINE  POTTERY 


the  forelegs  of  a horse  or  a mule  can  he  seen.  One  leg  is  raised,  the 
other  firmly  set  and  straining  backward.  Just  behind  the  man’s 
hand,  the  end  of  the  animal’s  nose  appears,  and  two  dangling  straps 
suggest  a halter  or  bridle.  Above,  parts  of  a large  G and  a large  R, 
probably  from  the  signature  (Ti)  gr  {ani) . 

187.  Legs  of  a similar  figure.  The  groimd  is  indicated  by 
irregular  oblique  bands  with  plant  stalks  springing  from  them. 

188.  Lower  part  of  a bowl,  with  a broad,  convex  moulding  at 
the  base.  In  the  principal  field,  the  lower  part  of  a large  male  figure 
walking  toward  the  left.  The  feet  are  shod  with  buskins,  the  lower 
legs  clothed  in  loose  fitting  tights,  and  above  the  knee  appears  the 
lower  edge  of  a chiton.  The  whole  suggests  a comic  actor.  Below 
the  feet,  the  ground  is  represented  by  a raised  band,  marked  with 
irregular  incisions.  In  front  of  the  figure  and  behind  it,  two  inde- 
terminable objects. 

189.  Above  a large  conventional  laurel  leaf  pattern,  the  lower 
leg  and  foot  of  a male  figure,  striding  toward  the  left.  The  muscles 
of  the  leg  are  remarkably  heavy.  At  the  left  of  the  figure,  a shell, 
and  upon  it,  a large  lobster,  crawling  toward  the  left. 

190.  Fragmentary  figure  of  a yoimg  man  in  front  view,  but  with 
the  head  in  profile  to  left.  Only  the  head,  a part  of  the  breast,  and 
the  right  arm  to  the  wrist  are  preserved.  On  the  shoulder  are  traces 
of  a sleeveless  chiton.  The  right  arm  appears  to  have  rested  on  the 
hip.  At  the  other  edge  of  the  fragment  appears  a trace  of  a second 
figure.  Between  the  two,  the  inscription  Makes  Rasini.  Above,  a 
laurel  leaf  pattern  and  an  egg  and  dart. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  535  a. 

[ 102  ] 


ARRETINE  POTTERY 


191.  (Plate  XVIII) . In  the  center,  a man  standing  in  front  of 
a horse.  He  is  dressed  in  a sleeveless  chiton,  which  covers  his  breast 
and  his  back,  but  is  not  girded,  and  so  leaves  his  right  side  and  leg 
uncovered.  The  right  arm  extends  across  the  body  and  grasps  the 
horse’s  bridle.  The  left  elbow  rests  on  the  right  forearm,  so  that 
the  man  was  probably  resting  his  chin  on  his  left  hand.  The  lower 
part  of  the  figure  is  concealed  by  a large  ribbed  amphora,  which  lies 
on  its  side  on  the  ground.  Of  the  horse,  the  breast  and  neck  and  the 
hind  quarters  appear  behind  the  principal  figure,  the  head  is  broken 
away.  The  horse  is  very  small  in  proportion  to  the  man — his  back 
is  on  a level  with  the  man’s  hip — but  the  modelling  is  excellent.  In 
front  of  the  horse,  in  the  lower  right  hand  corner  of  the  fragment, 
the  head  and  arms  and  part  of  one  leg  of  a second  figure,  seated  on 
the  ground,  have  been  preserved.  Here  again  the  attitude  is  one  of 
grief — the  left  arm  rests  on  the  left  knee  and  the  right  arm  is  bent 
at  the  elbow,  with  the  right  hand  supporting  the  head.  The  gaze  is 
directed  upward,  toward  the  face  of  the  standing  figure. 

192.  Part  of  a figure  of  Cupid,  hastening  toward  the  right.  The 
modelling  is  summary ; only  the  small  wing  shows  any  detail. 

193.  (Plate  XVII).  Small  Cupid  facing  left.  He  has  the 
form  of  a chubby  baby,  as  he  is  commonly  represented  in  Hellen- 
istic and  later  art.  Both  arms  are  extended  in  front  of  the  body, 
the  right  in  advance  of  the  left.  This  attitude  suggests  a Cupid 
drawing  the  bow,  but  as  the  right  hand  is  gone,  this  is  no  more 
than  a conjecture.  The  mouth  is  open,  the  whole  expression  play- 
ful. The  forms  of  the  body  are  remarkably  soft  and  natural.  At 
the  level  of  the  waist,  a bit  of  conventional  laurel  leaf  pattern. 

[ 103  ] 


ARRETINE  POTTERY 


194.  Arm  and  a bit  of  the  drapery  of  a figure  moving  toward 
the  left.  Behind  the  figure,  a trace  of  a decorative  pattern. 

195.  Very  incomplete  draped  figure  rushing  toward  the  left. 

196.  Right  upper  arm  and  part  of  the  torso  of  a draped  figure 
in  front  view.  At  the  left,  tendrils. 

197.  (Plate  XIX).  Fragment  of  an  elaborate  throne  with 
turned  legs.  Underneath  the  seat,  an  eagle  with  outspread  wings. 
Careful  detail. 

198.  From  the  upper  part  of  a large  bowl.  In  the  main  field,  a 
festoon  of  fruits  and  flowers,  partially  concealed  by  the  limb  of  a 
tree.  Above,  a row  of  bosses  and  the  usual  moulding  where  the  rim 
is  joined  to  the  body  of  the  vase. 

199.  Small  rectangular  altar,  the  separate  stones  carefully  dis- 
tinguished, and  above  it  a tree  trunk. 

200.  From  a conventional  laurel  leaf  pattern,  which  apparently 
served  to  set  off  the  principal  field,  rises  a tree  stump,  upon  which 
is  hung  a conventional  wreath  with  fillets. 

201.  SmaU  fragment,  decorated  with  a branch  of  an  apple  (?) 
tree.  Above,  a band  of  rosettes  and  a plain  moulding. 

202.  Small  fragment  with  a naturalistic  branch.  At  the  left,  the 
liind  quarters  of  an  animal.  Above,  a row  of  heart  shaped  leaves 
placed  on  their  sides. 

203.  Small  fragment  from  the  same  vase  as  Xo.  202,  same  dec- 
oration. 

204.  Small  fragment  with  similar  decoration,  but  not  from  the 
same  vase. 

205.  (Plate  XVIII) . Fragment  of  a vase  decorated  with  rep- 

[ 104  ] 


ARRETINE  POTTERY 


resentations  of  armor.  On  one  side,  a breastplate  surmounted  by  a 
helmet,  on  the  other  a shield  and  two  spears  crossed.  The  helmet  has 
a raised  triangular  visor  decorated  with  spirals  at  the  ends.  The 
shield  is  oval,  with  a boss  at  the  center.  The  edge  is  decorated  with 
a rope  pattern,  and  a double  rope  pattern  follows  the  long  diameter, 
dividing  at  the  center  and  passing  on  either  side  of  the  central 
boss.  At  the  right  of  the  shield  and  the  spears,  a bit  of  drapery 
ending  in  a knot  from  which  hangs  fillets  can  be  seen.  Above,  a 
border  of  conventional  leaves  pointing  downward  and  two  plain 
mouldings. 

206.  Fragment  from  a design  similar  to  that  of  No.  205.  The 
breastplate  and  the  helmet  were  made  from  the  same  stamps.  At 
the  left  of  them,  a small  portion  of  another  shield  appears,  on 
which  is  the  fragmentary  inscription  {S)inis(tor) . Above,  egg 
and  dart,  row  of  bosses,  and  plain  moulding. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  169  c. 


(g)  Animals 
Fragment  of  Mould 

207.  (Plate  XII).  In  the  center  a dog  rushes  toward  the 
left,  where  the  horns  and  one  ear  of  a goat  appear.  Above  the  dog, 
the  inscription  Rodo.  Behind  him,  the  head  and  fore  quarters  of  an 
ass,  apparently  rearing.  Above  the  ass,  an  indeterminate  object, 
which  looks  like  the  branch  of  a tree.  At  the  right,  the  fore  part 
of  a dog,  made  with  the  same  stamp  as  the  dog  in  the  center.  The 

[ 105  ] 


ARRETINE  POTTERY 


ass  is  remarkably  small  in  proportion  to  the  dogs.  At  the  top  of  the 
mould,  egg  and  dart  pattern  and  a row  of  bosses. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  247. 

Fragments  of  Vases 

208.  Upper  part  of  a large  bowl.  In  the  principal  field,  only 
the  head,  shoulders,  and  forelegs  of  a goat  and  the  tail  of  a dog  are 
preserved.  The  goat  was  rearing  on  its  hind  legs,  capering  toward 
the  right,  but  with  the  head  tmmed  to  look  back  toward  the  left. 
The  detail  is  extremely  careful.  Above  the  field,  an  egg  and  dart 
pattern  and  a row  of  bosses.  The  rim  has  a complicated  double 
curve ; the  upper  part  is  convex,  with  cross-hatchings,  the  lower  part 
is  concave  and  is  plain. 

209.  (Plate  XX).  Boar  running  to  right.  Above  him,  the 
inscription  Antiocus.  Above  the  field,  bosses  arranged  in  circles. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  209  c and  XV,  4987  d. 

210.  Fragment  of  the  upper  part  of  a bowl.  In  the  field,  a bull 
charges  to  left.  Above,  egg  and  dart,  row  of  bosses,  and  moulding 
with  vertical  hatching.  The  lip  is  sharply  offset,  and  decorated  with 
plain  mouldings. 

211.  (Plate  XIX).  Head  and  shoulders  of  a dog  running  to 
left.  Above,  a bit  of  foliage. 

Cf.  No.  207. 

212.  (Plate  XIX).  Stork  standing,  facing  left,  but  twisting 
his  neck  so  as  to  look  back  toward  the  right.  In  the  background, 
traces  of  a second  stork.  The  detail  in  the  body  of  the  bird  is  very 
carefully  rendered. 


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ARRETINE  POTTERY 


213.  (Plate  XIX).  Stork  fighting  with  a snake.  The  stork 
raises  one  wing  and  strikes  at  the  snake,  which  rears  itself  beside 
him.  In  conception  and  execution  the  fragment  is  very  similar  to 
No.  212,  and  it  probably  comes  from  the  same  vase. 

214.  (Plate  XIX).  Pair  of  storks,  facing  right.  Of  the  sec- 
ond, only  the  head  and  the  neck  appear  beyond  the  nearer  one.  In 
fineness  of  detail  this  fragment  surpasses  even  Nos.  212  and  213. 

Cf.  for  the  subjects  of  Nos.  212-214,  Monuments  Plot,  V,  pp. 
73-79,  pi.  11-14  (four  silver  canthari  from  Bosco  Reale). 

215.  Fragment  of  a flat  bowl.  In  the  principal  field  are  seven 
vertical  waved  lines  in  relief,  from  which  two  spirals  rise  to  the 
left,  one  with  a rosette  at  the  base.  Between  the  two,  a small  circle. 
Beyond  these,  the  field  is  occupied  by  a diminutive  dog  and  a crouch- 
ing hare,  the  hare  much  larger  than  the  dog  and  placed  above  him. 
The  field  is  bordered  by  plain  mouldings  below,  and  by  a row  of 
shell  like  ornaments  and  a row  of  bosses  above. 

216.  Lower  part  of  a bowl.  Above  a concave  moulding,  bosses 
arranged  in  groups  of  three  and  connected  by  lines  suggest  a wreath 
of  berries.  Then  follows  a laurel  leaf  pattern  and  above  this  a rock 
and  the  forelegs  of  an  animal. 


(h)  Statuettes 
Fragments  of  Moulds 

217.  (Plate  XII).  The  body  of  the  vase  was  bordered  below 
by  a conventional  laurel  leaf  pattern  and  above  by  a row  of  bosses. 
It  was  divided  into  fields  by  oblique  mouldings  in  groups  of  three, 

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ARRETINE  POTTERY 


and  one  of  these  fields  is  preserved  almost  entire.  It  is  filled  by  a 
large  conventional  acanthus  leaf  surmounted  by  a statuette  of  a 
draped  female  figm’e,  with  large  flowers  on  curving  stems  on  either 
side  of  it.  The  ends  of  the  mouldings  and  the  points  where  they 
intersect  are  also  decorated^ — the  lower  extremity  of  the  side  mould- 
ings with  a pointed  flower  bud ; the  intersection  of  the  side  mouldings 
and  the  oblique  mouldings  above  the  field  with  a large  cross-hatched 
boss  with  an  ivj^  leaf  on  each  side  and  a small  crouching  satyr  hold- 
ing a cornucopia  on  his  left  arm  above ; the  intersection  of  the  mould- 
ings above  the  field  with  a knot,  as  if  they  were  tied  together  at  this 
point.  From  the  knot  a laurel  leaf  pattern  runs  off  obliquely  to  the 
crouching  satyrs. 

218.  (Plate  XII) . In  the  principal  field,  the  greater  part  of 
the  decoration  consists  of  an  elaborate  floral  ornament.  The  base  is 
formed  by  a cross-hatched  boss;  then  follows  a crown  of  conventional 
acanthus  leaves,  with  a large  leaf,  a seed  pod,  and  a flower  springing 
from  it  on  each  side ; and  above  this  is  a slender  palmette,  on  which 
perches  a bird.  At  the  left  of  this  ornament  is  a smaU  female  figure 
resting  on  a base  of  some  sort,  now  too  much  mutilated  to  show  its 
nature,  though  it  appears  to  have  been  a floral  ornament.  Above 
the  large  floral  ornament,  at  the  right,  the  signature  M.  Peren{ni) 
Tigran  {i).  The  upper  edge  of  the  field  is  decorated  with  a very 
natural  vine  branch  and  a plain  moulding.  There  are  traces  of  a 
similar  vine  branch  below. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  450  oc. 

219.  In  the  center,  a small  bearded  Priapus,  with  the  left  arm 
bent  at  the  elbow  and  the  left  hand  resting  on  the  hip.  In  front  of 

[ 108  ] 


ARRETINE  POTTERY 


him  hovers  a bee.  From  the  base  of  the  figure  a pointed  staff  with 
spirals  surmounted  by  a rosette  rises  on  either  side.  At  the  left,  a 
bit  of  a conventional  leaf.  Above,  a laurel  leaf  pattern  and  a row 
of  bosses. 

Fragments  of  Vases 

220.  (Plate  XX) . Fragment  of  the  upper  part  of  a vase.  At 
the  right  is  a small  male  figure  standing  on  a base,  of  which  the 
lower  part  is  broken  away.  The  head  and  shoulders  of  the  figure 
also  are  missing.  The  dress  consists  of  a chiton  falling  to  the  knees 
and  girded  at  the  waist.  The  right  arm  is  extended  to  the  side  and 
the  hand  holds  an  object  of  which  the  precise  nature  is  not  clear. 
The  left  hand  held  a staff,  of  which  the  lower  part  is  preserved.  The 
whole  figure  suggests  a statue  set  on  a high  base.  At  the  left  of  this 
figure  stands  a volute  crater  with  a cover  on  which  a bird  is  perched. 
The  body  of  the  crater  is  ribbed.  Above  this,  the  letters  N I (prob- 
ably part  of  the  inscription  M PER  EN  NI  TI  GR  A NI). 
Then  follows  a large  palmette  supported  by  a flower  and  part  of 
another  crater.  The  upper  part  of  the  fragment  is  decorated  with 
a band  of  rosettes  and  a projecting  moulding. 

For  the  inscription  cf.  C.I.L.  XI,  6700,  450  g. 

221.  (Plate  XX) . From  the  lower  part  of  a bowl.  The 
lower  edge  is  decorated  with  a plain  moulding.  On  this  are  two 
rosettes,  each  with  a small  draped  female  figure,  very  carelessly 
modelled,  above  it.  Between  the  rosettes,  a conventional  acanthus 
leaf  rests  on  the  moulding.  Above  this  is  a small  base,  surmounted 
by  a male  figure  clad  in  a chiton  which  reaches  to  the  knees.  This 

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ARRETINE  POTTERY 


figure  is  broken  at  the  breast,  but  a part  of  the  right  arm  is  preserved 
extended  toward  the  side;  the  left  rested  on  a staff,  part  of  which 
is  preserved.  The  base  is  connected  with  the  rosettes  of  the  lower 
range  by  two  oblique  mouldings  on  each  side,  and  is  joined  at  the 
left  by  a conventional  laurel  leaf  pattern,  which  ran  aroimd  the  vase. 
Over  this  pattern,  above  the  right  hand  female  figure,  what  appears 
to  be  the  lower  part  of  a base  can  be  seen. 

The  male  figure  was  made  with  the  same  stamp  as  the  figure  on 
No.  220. 

222.  (Plate  XXI).  From  the  lower  part  of  a large  bowl. 
The  surface  is  divided  into  several  fields  by  pairs  of  vertical  mould- 
ings, joined  near  the  bottom  by  pairs  of  oblique  mouldings.  The 
points  of  junctm-e  are  decorated  with  rosettes.  Of  the  lower  fields 
thus  distinguished,  the  central  one  is  ornamented  with  an  elaborate 
pattern  made  up  of  a crown  of  conventional  leaves  supporting  a 
flower,  which  in  turn  supports  a small  pahnette.  The  base  of  the 
flower  is  decorated  with  a cross-hatched  boss,  and  from  the  crown 
of  leaves  a bud  on  a ciuving  stem  rises  on  each  side.  Each  of  the 
two  side  fields  is  occupied  by  a conventional  leaf  with  a small  satyr 
similar  to  the  one  on  No.  217  above  it.  Above,  in  the  angle  formed 
by  the  obhque  mouldings,  hangs  a flower.  These  two  designs  doubt- 
less alternated  about  the  bowl.  In  the  upper  fields  set  off  by  the 
oblique  mouldings,  a leaf,  with  a bell-shaped  flower  above  it,  sup- 
ports a small  female  statuette.  From  the  leaf  rise  two  flowers  on 
curving  stems. 


[ no  ] 


ARRETINE  POTTERY 


(i)  Masks,  Heads,  Buceania,  Pairs  of  Aistimals,  Etc. 

Complete  Moulds 

223.  (Plate  VII).  Practically  uninjured  mould  for  a large 
bowl.  Diameter,  17.5.  Height,  10.  The  lower  field  is  very  nar- 
row. It  is  bordered  below  by  a plain  moulding  and  a row  of  bosses, 
and  is  set  off  from  the  principal  field  by  a plain  moulding  and  a 
band  of  four-petalled  roses.  Between  these  is  a garland  of  laurel 
leaves  and  berries.  The  main  field  is  bordered  at  the  top  by  an  egg 
and  dart,  a row  of  bosses,  and  a plain  moulding,  and  below  these 
a conventional  laurel  leaf  pattern  runs  about  the  mould. 

The  principal  field  is  divided  into  four  parts  by  pairs  of  crossed 
thyrsuses,  from  each  of  which  hangs  a lion’s  skin  displayed.  The 
thyrsuses  end  below  in  small  knobs  to  which  a large,  cross-hatched 
boss  is  attached  in  each  case.  The  lion’s  skin  is  attached  near  the 
tops  of  the  thyrsuses,  and  at  the  points  of  attachment,  elaborate 
knots  are  represented.  The  skin  is  worked  out  in  great  detail,  with 
delicate  hatching  to  suggest  the  rough,  hairy  surface.  The  head, 
especially,  is  very  carefuUy  done,  with  separately  modelled  locks 
above  the  forehead,  wrinkled  muzzle,  and  large,  staring  eyes. 
Above  each  lion’s  skin  is  a large  disc,  with  a four-petaUed  rose  at 
the  center.  In  the  four  fields  set  off  by  the  lion’s  skins,  the  scheme 
of  the  decoration  is  in  all  cases  the  same,  though  there  are  differences 
in  detail.  In  each  field,  a garland  of  conventional  laurel  leaf  pattern 
runs  from  thyrsus  to  thyrsus,  the  ends  attached  at  the  points  where 
the  elaborate  knots  hold  the  lion’s  skin,  and  from  the  garlands  hang 
pendants  shaped  like  short  seabbards  (in  two  fields  five  pendants, 

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ARRETINE  POTTERY 


in  the  other  two,  seven) . Above  the  garland  in  each  case  is  a large 
satyr  mask,  with  open  mouth,  snub  nose,  bulging  forehead,  and 
thick,  curling  beard.  The  hair  is  parted  in  the  middle  and  bound 
by  a fillet,  the  ends  of  which  run  off  into  the  field  and  end  in 
three  knobs.  Below  one  of  these  heads  and  to  the  right  is  the 
signature  Rosin  {i) ; in  the  opposite  field  and  in  a similar  position, 
Certus. 

Few  moulds  show  the  use  of  small  separate  stamps  better  than 
this.  Though  the  scheme  of  the  decoration  is  the  same  in  aU  four 
divisions  of  the  main  field,  no  two  divisions  are  exactly  ahke.  Each 
thyrsus  was  formed  with  four  stamps,  one  for  the  shaft,  one  for  the 
pine  cone,  one  for  the  knob  at  the  lower  end,  and  one  for  the  boss 
below  it.  The  knots  by  which  the  lion’s  skins  are  held  were  made 
with  a small  stamp  containing  one-half  of  the  pattern.  The  knobs 
at  the  ends  of  the  fillets  are  in  a different  position  in  every  case,  and 
the  fillet  itself  was  apparently  drawn  free  hand.  In  the  lower  field, 
the  garland  was  made  with  two  small  stamps,  one  containing  a leaf, 
the  other  a berry. 

The  lion’s  skin  is  a favorite  decorative  motive;  cf.  Nos.  130,  244, 
245,  279-304;  Fabroni,  pi.  6,  No.  9.  It  may  be  compared  with 
similar  motives  on  two  silver  canthari  from  Hildesheim;  cf.  Der 
Hildesheimer  Silherfund,  pi.  11  and  12.  For  the  inscription,  cf. 
C.I.L.  XI,  6700,  525,  and  XV,  5501. 

224.  (Plate  XII).  Mould  for  a small  cup.  Diameter,  9.8. 
Height,  4.8.  The  principal  field  is  bordered  below  by  a conventional 
laurel  leaf  pattern  and  above  by  a plain  moulding.  It  is  divided 
into  four  parts  by  four  bucrania,  and  each  of  the  fields  thus  distin- 

[ 112  ] 


ARRETINE  POTTERY 


guished  is  decorated  with  four  ivy  leaves  and  a flying  bird.  The 
leaves  spring  from  the  bucrania,  two  on  each  side,  and  the  bird  is 
placed  between  them,  occupying  the  center  of  the  field.  The  upper 
part  of  the  cup  projects  strongly  and  is  decorated  with  alternating 
rings  and  flowers.  Above,  a row  of  bosses. 

Fragments  of  Moulds 

225.  (Plate  XIII).  The  principal  field  was  decorated  with 
alternating  leaves  and  bearded  heads  in  front  view.  In  the  frag- 
ment, one  almost  complete  leaf  and  parts  of  two  heads  appear.  The 
leaf  is  long  and  pointed,  with  delicate  dentilations.  At  its  base  is 
another  smaller  leaf.  The  heads  are  of  the  “ bearded  Dionysus  ” 
type.  They  are  modelled  with  great  care,  the  hair  and  beard  in  long 
locks  with  curling  ends,  the  eyeball  incised.  Above  them,  running 
aroxmd  the  vase,  is  a festoon  of  fruit  and  leaves,  in  which  grapes, 
apples,  and  pears  can  be  recognized.  Over  each  head,  the  garland 
is  bound  by  a fillet  with  long,  flying  ends.  The  upper  edge  of  the 
body  of  the  vase  is  marked  by  a band  of  rosettes. 

226.  Smaller  fragment  from  the  same  mould,  containing  only 
the  upper  end  of  a leaf,  a bit  of  the  hair  of  a head,  two  sections  of 
the  garland,  and  seven  rosettes. 

227.  (Plate  XIII) . On  either  side  of  a long  leaf,  like  those  of 
Nos.  225  and  226,  a bearded  mask.  Below  the  right  hand  mask, 
the  signature  Pantagatus.  At  the  right,  the  edge  of  another  leaf. 

The  name  Pantagatus  occurs  with  C.  Anni  {Not.  Scav.  1892, 
p.  375  and  C.I.L.  XII,  5686,  671) ; with  Rasini  (Nos.  305,  306) ; 
and  with  Rasini  Memmi  {C.I.L.  X,  8056,  248  and  XV,  5514). 

[ 113  ] 


ARRETINE  POTTERY 

228.  (Plate  XIII).  The  principal  decoration  consists  of  a 
festoon  of  fmits  and  leaves,  in  the  midst  of  which  is  a human  head 
in  front  view.  The  head  appears  only  once  in  the  fragment,  but  it 
was  undoubtedly  repeated  at  intervals.  The  main  portion  of  the 
festoon  is  the  same  as  the  garland  on  Nos.  225  and  226,  and  was 
probably  produced  by  the  same  stamp,  but  it  has  been  made  more 
elaborate  by  the  addition  of  vine  branches  and  bunches  of  grapes. 
The  tail  and  part  of  the  wing  of  a bird  also  appear  above  the  fes- 
toon. The  head  has  carefully  worked  hair  and  beard,  and  from  it 
hang  two  broad  fillets  or  ribbons  which  end  in  flying  strings.  From 
the  top  of  the  head  a zigzag  cord  runs  upward  to  the  upper  edge 
of  the  body  of  the  vase,  intended,  doubtless,  to  suggest  a mask 
suspended  by  a cord.  The  pattern  which  marks  the  upper  edge 
of  the  field  is  made  up  of  flower  palmettes  laid  on  their  sides. 

229.  Silenus  mask,  with  a festoon  on  either  side.  The  hair  and 
beard  are  treated  in  separate,  irregular  locks.  Above  the  forehead 
is  a wreath  of  ivy  leaves  and  berries.  A long  fillet  falls  on  each 
side  of  the  face.  On  a line  with  the  temples,  a row  of  lancet-shaped 
leaves  passed  around  the  vase.  These  were  evidently  impressed  in 
the  mould  first,  and  the  stamp  with  the  head  of  Silenus  on  it  failed 
to  obliterate  them  completely.  The  festoon  on  either  side  of  the 
mask  was  made  from  the  same  mould  as  that  of  Nos.  237  and  267. 
Above,  a tongue  pattern  and  a row  of  bosses. 

230.  (Plate  XIII) . From  a row  of  bosses  at  the  bottom  of  the 
principal  field  rise  two  pointed  staffs  with  spirals.  Between  them, 
a satyr  mask  of  the  usual  sort,  with  thick  lips,  long  nose  and 
obliquely  set  eyes  and  eyebrows  (here  very  strongly  marked).  The 

[ 114  ] 


ARRETINE  POTTERY 


hair  rises  straight  above  the  forehead  and  falls  in  heavy  masses  at 
the  sides.  The  heard  is  long  and  curly.  From  the  head  a heavy 
rope  pattern  rises  on  a curve ; it  probably  served  to  connect  the  mask 
with  a similar  mask,  half  of  which  is  preserved  at  the  left  hand  edge 
of  the  fragment.  In  the  center  of  the  rope  pattern,  part  of  an 
elaborate  boss  appears.  On  the  right  hand  side  of  the  field  a por- 
tion of  a very  natural  oak  spray  can  be  seen.  The  mouldings  which 
bound  the  field  above,  and  which  are  partially  covered  by  the  rope 
pattern,  are  elaborate.  They  consist  of  a row  of  bosses,  a laurel 
leaf  pattern  over  a simple  moulding,  egg  and  dart,  row  of  bosses, 
and  a simple  moulding. 

231.  In  the  center,  a female  head  in  front  view  rests  on  a knotted 
fillet  with  elaborate  ends.  On  each  side  of  it,  a pahnette.  At  the 
left,  a bit  of  a knotted  fillet,  and  above  it  the  inscription,  Telli. 
Between  the  inscription  and  the  first  pahnette,  two  small  double 
bosses.  Above,  a tongue  pattern,  a row  of  bosses,  and  a simple 
moulding. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  660  a.  There  is  a 
trace  of  a letter,  probably  C,  before  TeUi. 

232.  In  the  center,  an  ornament  made  up  of  pairs  of  volutes 
diminishing  in  size  toward  the  top,  and  surmounted  by  a small 
pahnette.  On  each  side  of  this,  a female  head  in  front  view.  Both 
heads  have  an  almond-shaped  ornament  on  top.  The  head  on  the 
right  is  supported  by  a staff  decorated  with  a spiral.  Above,  tongue 
pattern  and  a row  of  bosses. 

233.  In  the  center  of  the  field,  a child’s  head  in  front  view, 
inside  a circle  of  bosses.  On  each  side  of  this,  a pahnette  lying  on 

[ 115  ] 


ARRETINE  POTTERY 


its  side  and  a trace  of  another  head.  The  field  is  bordered  below  by 
a row  of  pointed  leaves  with  double  rings  between  them,  and  above 
by  a tongue  pattern  and  a simple  moulding. 

234.  The  meeting  point  of  two  pairs  of  obbque  mouldings, 
which  served  to  di^dde  the  body  of  the  vase  into  fields,  is  decorated 
with  a child’s  head  in  front  view.  At  each  side  of  this  is  a seed- 
shaped ornament,  perhaps  intended  to  suggest  an  elaborate  knot. 
Above  the  head,  the  base  of  an  elaborate  ornament  appears,  but  its 
exact  nature  cannot  be  determined.  In  the  field  below,  a long  con- 
ventional leaf.  At  the  left,  traces  of  other  leaves. 

235.  The  principal  field  is  decorated  with  a band  of  pointed 
leaves,  placed  on  their  sides,  and  alternating  in  direction.  The 
spaces  between  the  larger  ends  of  the  leaves  were  occupied  by 
bearded  masks — the  hair  confined  by  a fillet  with  long  ends — one 
of  which  is  partially  preserved  at  the  left  hand  side  of  the  fragment. 
The  spaces  between  the  pointed  ends  of  the  leaves  were  filled  with 
children’s  heads  in  front  view;  one  of  these  appears  at  the  center 
of  the  fragment.  Below  it  is  the  inscription,  Chrestus  C.  {Anni  is 
probably  to  be  supplied).  Below  the  inscription,  a band  of  ivy 
leaves,  placed  on  their  sides.  Above  the  main  design,  a band  of 
rosettes  and  hatched  circles. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  38  cj  XV,  4967  and 
4975;  II,  4970,  155  and  6257,  59. 

236.  The  body  of  the  vase  was  divided  into  small  fields  by 
obhque  mouldings,  which  met  at  the  top  and  the  bottom.  The  frag- 
ment has  preserved  only  one  of  these  points  of  meeting;  it  is 
decorated  with  a small  comic  mask.  Each  of  the  three  fields  of 

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which  parts  are  preserved  was  decorated  with  a single  eight- 
petalled  flower  on  a crooked  stem.  Above  the  central  one,  the 
inscription  Philero{s)  Memmi.  Above,  a naturalistic  branch. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  383  a. 

237.  (Plate  XIII).  From  a mould  for  a shallow  bowl.  The 
principal  fleld  is  decorated  with  bucrania,  connected  with  one 
another  by  festoons.  The  component  parts  of  the  festoons  are  hard 
to  determine;  they  appear  to  be  pears,  figs,  acorns,  and  pine  cones. 
The  fillets  that  hang  from  the  bucrania  resemble  olive  leaves,  but 
the  strings  at  the  ends  show  that  they  are  fillets.  Above  the  center 
of  the  garland — in  two  instances,  a ring  with  cross-hatching,  in  the 
third,  the  signature,  C.  Anni.  Above,  a row  of  bosses  on  a plain 
moulding. 

Cf.  for  the  festoons.  Nos.  229  and  267 ; for  the  signature,  C.I.L. 
XI,  6700,  31  a. 

238.  The  design  is  similar  to  that  of  No.  228;  the  festoon  which 
forms  the  principal  decoration  was  made  from  the  same  stamp. 
The  design  is  here  broken,  however,  by  small  bucrania,  each  sur- 
mounted by  two  bosses,  and  hung  with  broad  fillets  ending  in 
strings.  Above  and  below  the  field  is  bordered  by  rosettes,  and 
below  the  lower  row  of  these  is  a small  bit  of  another  pattern  which 
ran  around  the  lower  part  of  the  mould. 

239.  (Plate  XIII).  The  design  is  similar  to  that  of  No.  238, 
consisting  of  a festoon  of  leaves  and  fruit,  dependent  from  small 
bucrania,  which  are  decked  out  with  broad  fillets.  The  bucrania 
were  produced  by  the  same  stamp  as  those  of  No.  238.  The  festoon, 
however,  is  different;  it  includes  grasses  (or  ears  of  grain?),  as 

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well  as  fruit  and  leaves.  Above  the  festoon  is  a flying  bird.  From 
the  bucrania  chains  run  to  the  upper  edge  of  the  field,  which  is 
finished  off  by  a band  of  heart-shaped  leaves. 

240.  From  a mould  made  with  the  same  stamps  as  No.  238.  A 
part  of  two  festoons  and  a pair  of  fillets  are  preserved. 

241.  (Plate  XIII).  The  principal  design  was  made  with  the 
same  stamps  as  Nos.  239  and  240.  The  greater  part  of  one  festoon 
with  the  flying  bird  above  it  and  parts  of  three  fillets  appear  in 
the  fragment.  Above  and  below  the  design  is  framed  in  by  a band 
of  flower  palmettes  laid  on  their  sides.  Below  the  lower  pattern, 
a band  of  conventional  acanthus  leaves. 

242.  (Plate  XIII).  Along  the  upper  part  of  the  field  runs 
a conventional  laurel  leaf  pattern,  broken  by  alternating  bull’s  heads 
and  palmettes.  The  bull’s  heads  are  only  partially  conventionalized, 
the  short  hair  between  the  horns  being  carefully  indicated.  The 
horns  are  short  and  each  is  decked  out  with  a fillet  with  flying  ends. 
Below  each  head  is  a rosette.  The  palmettes  rise  from  small  vases, 
which  rested  on  elaborate  supports;  the  long  pointed  leaves  which 
served  to  decorate  the  supports  are  partially  preserved.  Above,  an 
egg  and  dart.  The  cast  which  is  reproduced  on  Plate  XIII  was 
taken  from  only  a part  of  the  fragment. 

243.  (Plate  XIII).  In  the  principal  field,  so  far  as  it  is  pre- 
served, the  most  important  element  in  the  decoration  is  a triangular 
ornament  formed  by  five  converging  ribs,  flanked  on  either  side  by 
the  fore  part  of  a prancing  horse.  The  base  of  the  triangle  is  con- 
cealed by  an  ornament  which  resembles  an  elaborate  knot.  The 
apex  is  covered  by  three  bosses,  and  these  are  surmounted  by  three 

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ivy  leaves.  From  this  a festoon  of  fruits  and  flowers  rims  off  to 
the  left.  Above,  a row  of  bosses. 

Cf.  Nos.  274,  275. 

244.  The  greater  part  of  the  field  is  occupied  by  a lion’s  skin, 
displayed,  with  head  downward,  and  an  elaborate  knot  at  the  top, 
to  suggest  that  the  skin  is  suspended  from  a support.  At  the  right, 
traces  of  fohage.  Above,  a row  of  bosses. 

Cf.  Nos.  130,  223,  245,  279-304,  and  Fabroni,  pi.  6,  No.  9. 

245.  Fragment  with  similar  decoration,  but  from  the  lower  part 
of  a mould,  so  that  it  shows  only  the  lion’s  head.  Below,  a row  of 
bosses. 

Cf.  Nos.  130,  223,  244,  279-304. 

Fragments  of  Vases 

246.  (Plate  XX).  Fragment  of  a bowl  decorated  with  alter- 
nating bearded  masks  and  conventional  leaves.  One  head,  a part 
of  another,  and  the  greater  part  of  two  leaves  are  preserved.  The 
elements  of  the  decoration  are  precisely  the  same  as  those  used  in 
making  the  mould  No.  225,  although  as  the  curvature  differs  from 
that  of  No.  225,  the  vase  from  which  this  fragment  comes  was  not 
made  in  that  mould.  Above,  part  of  an  elaborate  festoon,  tied  with 
a fillet. 

247.  (Plate  XX).  Right  half  of  a large  satyr  head.  The 
head  is  very  carefully  modelled,  and  the  characteristics  of  the  satyr 
are  excellently  brought  out, — the  short,  thick  nose,  the  thick  lips, 
slightly  parted,  so  as  to  show  the  teeth,  large  ear,  prominent  cheek 
bone,  and  coarse  hair  and  beard.  The  crown  of  ivy  which  covers 

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the  hair  is  also  rendered  with  great  skill,  even  the  ribs  of  the  leaves 
are  reproduced. 

248.  (Plate  XX).  Fragment  of  a large  Silenus  head.  Only 
the  upper  part  of  the  head  is  preserved,  but  the  forehead  and  the 
crown  of  vine  leaves  show  skilful  modelling.  At  the  right,  portions 
of  a conventional  laurel  leaf  pattern.  Above,  a vine  branch  with 
leaves  and  hunches  of  grapes,  and  three  simple  mouldings. 

249.  (Plate  XIX).  Fragment  of  a similar  head,  broken  at 
the  nose.  At  the  left,  a lion’s  paw.  Above,  the  inscription  Faustus, 
and  a double  row  of  bosses. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  220  h and  XV,  5143. 
The  Faustus  of  No.  249  was  probably  a slave  of  P.  Cornelius,  but 
the  occurrence  of  the  signature  Faustus  Calidi  (cf.  C.I.L.  XI, 
6700,  150  b)  makes  this  inference  not  absolutely  certain. 

250.  Similar  head,  badly  broken. 

251.  Similar  head,  badly  broken  and  worn. 

252.  (Plate  XIX).  Silenus  head,  with  heavy  eyebrows  and 
prominent  eyes.  The  hair  is  boimd  by  a fillet  with  bunches  of 
grapes  at  the  ends.  At  the  right,  a pointed  staff  with  rings  and 
part  of  a conventional  acanthus  leaf. 

253.  Upper  part  of  a similar  head,  probably  from  the  same 
stamp  as  No.  252.  Above,  a festoon  of  fruits  and  flowers. 

254.  Similar  fragment,  probably  from  the  same  stamp  as  Nos. 
252  and  253.  Above,  a similar  festoon. 

255.  At  the  left,  a slender  palmette  on  a tall  stem.  At  the 
right,  a small  Silenus  head  in  low  relief. 

256.  Similar  palmette  and  Silenus  head,  but  much  closer 

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together  than  on  No.  255.  The  two  fragments  come  from  different 
moulds,  but  the  moulds  were  probably  made  with  the  same  stamps. 

257.  At  the  left,  a large  tongue  ornament.  At  the  right,  a 
small  Silenus  head  in  low  relief,  surmounted  by  a pine  cone  (?). 
Above,  a tongue  pattern  and  a row  of  bosses. 

258.  Lower  part  of  a small  bowl.  The  principal  field  is  deco- 
rated with  conventional  acanthus  leaves  rising  from  the  bottom 
of  the  vase.  Between  them  appear  parts  of  long  pointed  beards, 
which  undoubtedly  formed  parts  of  Silenus  heads  of  the  ordinary 
type. 

259.  Fragment  of  a small  bowl,  with  a Silenus  head  in  very  low 
relief.  Above  and  below,  simple  mouldings. 

260.  Small  fragment  with  a similar  head,  but  not  from  the  same 
mould. 

261.  (Plate  XXI).  Fragment  of  a large  bowl.  The  prin- 
cipal field  is  set  off  by  a band  of  rosettes  below  and  by  an  egg  and 
dart  and  a row  of  bosses  on  a plain  moulding  above.  It  was  deco- 
rated with  a series  of  Pan’s  heads  connected  by  a festoon.  One 
head  and  part  of  another  are  preserved  in  the  fragment.  The  heads 
are  large,  with  heavy  moustaches  and  long  beards,  which  end  in 
two  points  with  a rosette  between  them.  The  forehead  is  bound 
by  a double  fillet,  and  above  it  rise  large  curving  horns.  Both  heads 
and  garland  are  very  similar  to  the  same  elements  in  the  decoration 
of  No.  135,  and  doubtless  go  back  to  the  same  stamps.  The  space 
between  the  heads  is  filled  by  a large  conventional  acanthus  leaf 
and  two  pointed  staffs  with  spirals,  one  on  each  side  of  the  leaf. 
Above  the  tip  of  the  leaf  is  a rosette.  Part  of  another  leaf  at  the 

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ARRETINE  POTTERY 


left  hand  side  of  the  fragment  and  parts  of  two  pointed  staffs  at 
right  and  left  show  that  this  pattern  was  repeated.  At  the  left  of 
the  complete  head  and  just  below  the  garland,  the  signature 
Primus.  The  rim  has  a simple  moulding  with  cross-hatching  and 
the  moulding  which  forms  the  lip  is  hatched. 

Cf.  for  the  inscription  C.I.L.  XI,  6700,  244. 

262.  Large  fragment  of  the  same  bowl  (or  a bowl  from  the 
same  mould) . Two  Pan’s  heads  and  parts  of  the  garlands  attached 
to  them  and  of  the  leaves  and  pointed  staffs  in  the  fields  on  either 
side  are  preserved. 

263.  Similar  fragment,  but  smaller. 

264.  Fragmentary  Pan’s  head,  similar  to  those  of  Nos.  261-263. 
It  is  not  from  the  same  mould,  however,  since  it  shows  a large  fillet 
running  off  toward  the  right. 

265.  (Plate  XX).  The  principal  decoration  consists  of  large 
child’s  head  crowned  with  ivy  (probably  the  youthful  Dionysus). 
The  face  was  carefully  modelled,  but  was  badly  rubbed  in  removing 
the  shell  from  the  mould.  At  the  left,  a thyrsus.  Above,  a conven- 
tional laurel  leaf  pattern.  The  upper  edge  of  the  main  field  is 
marked  by  a row  of  bosses. 

266.  (Plate  XX).  Large  decorative  head  facing  right,  in  a 
setting  of  flowers  and  plant  forms.  The  thick  lips  and  short,  thick 
nose  look  decidedly  Ethiopian,  but  the  hair,  so  far  as  it  appears 
in  front  of  the  ear  and  behind  it,  is  not  curly.  The  eye  is  wide 
open,  with  iris  and  pupil  carefully  indicated,  the  eyebrows  thick 
and  heavy.  The  protuberance  on  the  neck  is  probably  due  to  care- 
lessness. 


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267.  (Plate  XXII).  From  a pyxis.  The  field  was  divided 
into  seetions  by  small  bucrania  with  fillets  attached  to  them  below 
and  with  human  heads  in  front  view  above.  One  bucranium  and 
one  head,  with  parts  of  two  fillets  are  preserved.  The  bucrania  were 
connected  by  festoons  of  the  same  form  as  those  of  Nos.  229  and 
237.  In  the  spaces  above  the  festoons  were  masks  suspended  by 
cords.  One  of  these  is  preserved  entire,  as  is  also  half  of  a sec- 
ond. At  the  top  of  the  field,  a band  of  small  stars  inside  hatched 
circles.  The  rim  is  plain,  marked  off  by  two  grooves,  the  lip 
projects  and  has  a plain  moulding  on  the  lower  side.  The  frag- 
ment is  interesting  because,  although  the  entire  interior  is  cov- 
ered with  glaze,  the  exterior  is  unglazed  except  for  the  rim  and 
the  lip. 

268.  At  the  left,  a pine  cone  on  a stem  and  above  it  the  lower 
part  of  a child’s  head.  At  the  right,  a conventional  leaf. 

269.  Part  of  a small  deep  cup.  Height,  5.1.  Diameter  of  the 
base,  3.2.  The  surface  is  divided  into  fields  by  vertical  mouldings, 
each  decorated  with  a boss  at  the  lower  end  and  at  the  upper  end 
by  a human  face  in  front  view.  Of  the  fields  thus  distinguished, 
only  one  is  well  preserved.  This  is  divided  into  three  parts  by  two 
oblique  mouldings  which  start  from  the  lower  corners  of  the  field 
and  meet  at  the  top.  From  a point  just  below  their  intersection 
hangs  a looped  fillet  which  fills  the  central  part  of  the  field.  Traces 
of  the  decoration  in  the  other  fields  show  that  all  were  decorated  in 
the  same  way.  The  field  is  bounded  at  the  top  by  a row  of  double 
bosses,  and  above  this  a bit  of  an  egg  and  dart  appears.  Between 
the  two,  PMlero(s)  Anni. 


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For  the  inscription,  cf.  C.I.L.  XI,  6700,  53,  though  none  of 
the  forms  there  noted  is  exactly  the  same  as  that  on  Xo.  269. 

270.  The  body  of  the  vase  is  hounded  below  by  a row  of  double 
rings.  Above,  at  the  left,  a broad  fillet  ending  in  a long  string, 
such  as  is  commonly  placed  below  heads  in  front  view.  At  the 
right,  a long  conventional  leaf  rises  from  a crown  of  three  small 
leaves,  and  from  this,  four  pointed  staffs  with  spirals  extend 
obliquely  into  the  field,  two  on  each  side.  The  two  at  the  left  are 
partially  concealed  by  a large  goat’s  head  with  a rosette  at  the  point 
of  the  beard.  These  were  added  after  the  vase  came  from  the 
mould,  and  served  as  an  ornament  at  the  base  of  the  handle. 

271.  Nearly  half  of  a small  cantharus.  Height,  8.  Diameter  at 
the  bottom,  6;  at  the  top,  9.5.  The  foot  has  been  lost,  but  the  break 
at  the  bottom  shows  that  it  ended  in  a slender  stem,  2 cm.  in  diam- 
eter. The  lower  part  of  the  cup  itself  is  divided  into  a series  of 
small  fields  by  radiating  S -shaped  mouldings,  and  in  each  field  is 
a conventional  branch.  At  two  opposite  points,  this  pattern  is 
concealed  by  large  volute  pahnettes,  pointing  downward.  These 
run  over  to  the  lower  part  of  the  body  of  the  vase,  and  were  clearly 
ornaments  at  the  base  of  the  handles,  added  after  the  vase  was  taken 
from  the  mould.  The  handles  were  probably  curved  and  attached 
only  at  the  top  and  the  bottom  of  the  vase,  but  the  portions  above 
the  pahnettes  are  so  injured  that  it  is  impossible  to  determine  the 
form  of  the  handles  with  certainty. 

The  principal  field  is  set  off  by  a plain  moulding  at  the  bottom. 
It  was  divided  into  four  parts  by  groups  of  four  large  ivy  leaves 
arranged  about  a group  of  bosses  (probably  intended  to  suggest 

[ 124  ] 


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berries).  Two  of  these  groups  of  leaves  are  preserved  completely. 
They  are  so  arranged  that  the  ends  of  the  horizontal  leaves  meet, 
and  at  this  point  there  is  another  group  of  bosses  or  berries.  The 
field  below  is  filled  with  a conventional  laurel  leaf  festoon,  which 
ran  from  the  center  of  one  group  of  leaves  to  the  center  of  the  next, 
but  is  largely  concealed  by  the  leaves  themselves.  The  field  above 
contains  a similar  festoon,  decorated  at  each  end  with  a looped  fillet, 
and  below  it  a bucranium,  which  occupies  the  center  of  the  field. 
The  point  where  the  festoon  is  caught  up  above  the  group  of  leaves 
is  marked  in  each  case  by  two  bosses.  The  upper  edge  of  the  field 
is  marked  by  a row  of  bosses.  Between  these  and  the  festoon,  in 
the  one  field  that  is  completely  preserved,  are  the  three  inscriptions, 
Chrestus  Rasini  Memmi.  The  lip  is  decorated  with  a band  of  rings 
and  a row  of  bosses. 

Cf.  for  the  inscription,  Introduction,  p.  27. 

272.  Large  bull’s  head  in  front  view.  The  workmanship  is  very 
careful,  the  short  hair  between  the  horns  being  indicated.  A double 
cord  passes  over  the  left  horn,  and  below  it  the  beginning  of  a fes- 
toon or  garland  appears.  Above,  at  the  top  of  the  body  of  the 
vase,  part  of  a pattern  of  bosses  arranged  in  circles. 

273.  From  the  upper  part  of  a small  bowl.  Of  the  principal 
decoration,  only  a bucranium  with  two  bosses  above  it  and  a small 
portion  of  a festoon  attached  to  it  are  preserved.  Above,  a frag- 
ment of  a band  of  flower  palmettes. 

The  bucranium  and  the  festoon  are  the  same  as  those  on  the 
mould  No.  239. 

274.  (Plate  XXI).  From  the  upper  part  of  a bowl.  In  the 

[ 125  ] 


ARRETINE  POTTERY 


principal  field,  the  most  important  part  of  the  decoration  consists 
of  a triangular  ornament,  formed  by  five  converging  ribs  and  sur- 
mounted by  a rosette,  and  flanked  at  either  side  by  the  fore  part  of 
a prancing  horse.  The  whole  rested  on  a support  in  the  form  of  an 
elaborate  knot.  Above  the  rosette,  P.  Cornel{i).  At  the  right,  a 
festoon  of  fruits  and  flowers.  The  field  is  bordered  above  by  an 
egg  and  dart,  a row  of  bosses,  and  a plain  moulding.  The  jimcture 
of  the  body  of  the  vase  and  the  rim  is  marked  by  a strongly  project- 
ing convex  moulding  with  cross-hatching.  The  lip,  as  far  as  it  is 
preserved,  is  plain,  with  a simple  moulding  at  the  top. 

Cf.  Nos.  243  and  275;  for  the  inscription,  C.I.L.  XI,  6700,  204  i. 

275.  On  either  side  of  a triangular  central  ornament  with  three 
bosses  above  it,  appears  the  fore  part  of  a prancing  horse.  Above, 
P.  Cornel  {i).  Above  the  field,  an  egg  and  dart  pattern. 

Cf.  Nos.  243  and  274;  for  the  inscription,  C.I.L.  XI,  6700,  204  i. 

276.  (Plate  XXII) . From  a border  of  rosettes  rises  a conven- 
tional leaf  with  pointed  staffs  mth  spirals  springing  obliquely  from 
the  base.  Above  this  and  partly  covered  by  it  is  a lance-shaped  leaf, 
in  front  of  which  are  two  serpents  intertwined.  At  the  left,  a 
tongue-shaped  ornament  rises  from  the  rosettes;  above  it  is  a small 
leaf  with  a rosette  at  its  base.  Still  farther  at  the  left,  a bit  of  a 
pointed  staff  shows  that  the  pattern  was  repeated. 

Cf.  Nos.  335,  506,  and  Fabroni,  pi.  6,  No.  1. 

277.  Small  fragment  decorated  with  a serpent  similar  to  those 
on  No.  276,  and  above  it  (P.  C)ornel{i) . Above,  an  egg 
and  dart. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  204  i. 

[ 126  ] 


ARRETINE  POTTERY 


278.  (Plate  XIX).  At  the  left  of  two  dolphins  with  tails 
intertwined  (only  one  is  preserved  entire),  a conventional  leaf,  with 
pointed  staffs  with  spirals  springing  from  it  obliquely.  Above,  a 
row  of  bosses. 

Cf.  No.  505. 

279.  (Plate  XXII) . Of  the  decoration  of  the  body  of  the  vase, 
only  a lion’s  skin,  displayed,  is  visible.  Above,  a row  of  bosses. 

Cf.  Nos.  130,  223,  244,  245  and  Fabroni,  pi.  6,  No.  9. 

280-304.  Twenty-five  fragments  with  parts  of  the  same  deco- 
rative motive.  In  some  cases,  other  elements  of  the  decoration  are 
preserved,  bits  of  festoons  of  fruits  and  flowers,  naturalistic  plant 
forms,  and  conventional  patterns.  In  one  case,  there  is  a suggestion 
of  a human  figure,  but  the  fragment  is  so  small  that  certainty  is 
impossible.  Two  fragments  bear  signatures, — No.  291,  P.  Cor- 
nel {i),  and  No.  292,  Primus. 

(j)  Naturalistic  Plant  Forms 
Complete  Moulds 

305.  (Plate  VIII).  Mould  for  a round  bowl.  The  mould  is 
cracked,  but  has  never  been  broken.  Diameter,  14.7.  Height,  7.3. 

The  surface  is  divided  into  two  fields  by  a border  of  rosettes  and 
a very  narrow  moulding,  and  the  same  patterns  recur  at  the  top 
of  the  mould.  The  lower  field  is  set  off  at  the  bottom  by  a nar- 
row moulding  and  a row  of  bosses.  From  the  bosses  at  regular 
intervals  spring  four  long  leaves,  each  with  a rosette  at  the  point 
where  it  rises  from  the  border.  At  either  side  of  this  rosette,  a long 

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pointed  staff  with  cross-hatching  extends  obhquely  into  the  field. 
In  the  space  between  each  pair  of  leaves,  a palmette. 

In  the  upper  field,  the  decoration  consists  of  an  elaborate  fes- 
toon, which,  with  supplementary  figures,  occupies  the  whole  field. 
Among  its  component  parts,  the  acorn,  the  quince,  and  the  pine 
cone  are  easily  recognizable;  two  other  fruits  (pear  and  olive?) 
and  a flower  are  less  distinctly  characterized.  Close  inspection 
shows  that  the  greater  part  of  the  festoon  was  impressed  in  the 
mould  with  a single  small  stamp.  The  same  pattern  is  repeated 
twelve  times,  but  the  stamp  was  reversed  in  passing  from  one  part 
to  the  next,  so  that  the  upper  part  of  one  section  corresponds  to  the 
lower  part  of  the  next.  At  the  points  where  the  separate  sections 
meet,  a small  space  was  left  in  every  case,  and  these  spaces  are  fiUed 
alternately  by  a six-petalled  flower  and  a large  bee.  These  were 
impressed  in  the  mould  after  the  sections  of  the  main  design.  Fur- 
ther than  this,  the  whole  is  varied  by  the  addition  of  supplementary 
figures  above  and  below  the  festoon.  In  the  upper  range  appear 
two  inscriptions,  almost  exactly  opposite  each  other,  Pantagatus 
and  Rosin  {i).  Beginning  at  the  right  of  the  inscription  Panta- 
gatus, the  supplementary  figures  are: 

(a)  Long-tailed  bird  (daw?)  with  outstretched  neck  (proba- 
bly conceived  as  perched  on  an  acorn  in  the  festoon,  though  its  feet 
do  not  touch  the  acorn). 

(b)  Shghtly  smaller  bird,  perched  on  a pine  cone.  The  wings 
are  raised  and  the  head  is  turned,  preening  the  feathers  of  one  wing. 

(c)  Small  Cupid  hovering  above  the  festoon  and  touching  an 
acorn  with  one  hand. 


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ARRETINE  POTTERY 


{d)  Daw  (?),  same  type  as  (a). 

(e)  Large  bee,  hovering  above  the  festoon. 

(/)  Lizard,  with  legs  spread  wide  apart  and  long  tail. 

After  the  inscription  Rasin(i) : 

(g)  Bird,  same  type  as  (a). 

(h)  Bee  hovering  above  the  festoon. 

(i)  Bird  preening  its  feathers,  same  type  as  (h). 

(j)  Cupid,  same  type  as  (c). 

(k)  Lizard,  same  type  as  (/). 

(l)  Bird,  same  type  as  (a). 

(m)  Bee,  same  type  as  (e). 

In  the  lower  range,  directly  under  the  inscription  Pantagatus: 

(n)  Lizard,  same  type  as  (/). 

Then  to  the  right: 

(o)  Bee,  not  exactly  the  same  as  either  {e)  or  (h). 

(p)  Bird. 

{q)  Seated  Cupid,  with  both  hands  raised  toward  the  festoon, 
(r)  Lizard,  same  type  as  (/). 

(5)  Bee,  same  type  as  (0). 

(t)  Seated  Cupid,  same  type  as  (q). 

(u)  Bee,  same  type  as  {h). 

(u)  Lizard,  type  (/). 

(«;)  Seated  Cupid,  type  (q). 

(a?)  Bird,  type  (p). 

(y)  Seated  Cupid,  type  {q). 

This  form  of  ornamentation  (naturalistic  garland  with  small 
supplementary  figures)  is  one  that  occurs  very  frequently.  Cf. 

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ARRETINE  POTTERY 


Fabroni,  pi.  1,  No.  6;  B.  J.  96,  pi.  5,  No.  35.  Similar  garlands  are 
found  on  silver  vases;  cf.  Der  Hildesheimer  Silberfund,  pi.  10;  Mon. 
Piot  5,  pi.  7 and  8 (from  Bosco  Reale) . They  are  very  frequent  on 
marble  altars  of  Augustan  times  and  later,  and  on  many  sorts  of 
utensils  and  articles  of  furniture ; cf . Altmann,  Die  romischen  Grab- 
altar  e der  Kaiserzeitj  passim,  and  E.  Strong,  Roman  Sculpture 
from  Augustus  to  Constantine,  pp.  59-79.  For  the  inscription, 
cf.  Introduction,  p.  27,  note  4. 

306.  (Plate  VIII).  Mould  for  a small  bowl,  similar  to  No. 
305.  Diameter,  15.8.  Height,  6.  The  mould  is  put  together  from 
fragments;  one  small  section  is  entirely  lost,  and  the  preserved  parts 
are  badly  chipped  in  two  places,  but  the  whole  design  is  clear.  The 
mould  is  the  product  of  the  same  factory  as  No.  305.  It  bears  the 
signatures  Pantagatus  and  Rasin{i),  and  some  parts  of  the  deco- 
ration are  identical  with  parts  of  the  decoration  of  No.  305. 

The  ornamental  patterns  consist  of  a conventional  laurel  leaf 
pattern  below  the  lower  field,  a band  of  rosettes  between  the  upper 
field  and  the  lower,  and  at  the  top  of  the  body  of  the  vase  a laurel 
leaf  pattern  and  a row  of  bosses.  In  the  lower  field,  the  decoration 
consists  of  seven  large  flowers,  each  with  a rosette  at  its  base,  from 
which  elongated  pointed  staffs  with  cross-hatching  extend  obhquely 
into  the  field.  In  the  spaces  set  off  by  these,  between  each  pair  of 
flowers,  a bud  on  a curving  stem. 

The  principal  field  is  filled  by  a festoon,  composed  of  the  same 
elements  as  the  festoon  on  No.  305  and  made  with  the  same  stamp. 
Here  the  design  is  repeated  eleven  times,  with  the  stamp  always  in 
the  same  position.  The  spaces  between  the  sections  are  filled  with 

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ARRETINE  POTTERY 


small  figures,  which,  however,  do  not  recur  with  the  regularity  of 
the  filling  figures  on  No.  305.  Beginning  at  the  right  of  the  in- 
scription Pantagatus,  the  figures  are: 

(a)  Large  bird  (daw?)  with  head  lowered  as  if  pecking  at  the 
festoon. 

(b)  Large  bee,  of  the  same  type  as  the  figure  in  the  same  posi- 
tion on  No.  305. 

(c)  Cupid  flying  toward  the  right.  One  arm  is  stretched  out 
as  if  he  were  trying  to  grasp  the  end  of  the  festoon.  The  figure  is 
larger  than  the  corresponding  figure  on  No.  305,  and  is  worked  out 
with  much  greater  care,  especially  in  the  details  of  the  wings. 

(d)  Bee,  same  type  as  (o)  and  (s)  on  No.  305. 

(e)  Bee,  same  as  (b). 

(/)  Cupid,  same  as  (c). 

(g)  Bee,  same  as  (d). 

(h)  Bird,  same  as  {a). 

(i)  Bee,  same  as  (b), 

(j)  Cupid,  same  as  (c). 

{k)  Bee,  same  as  (b). 

The  supplementary  figures  above  the  festoon  consist  of  three 
birds  of  the  type  of  (a)  on  No.  305. 

Cf.  note  on  No.  305. 

Fragments  of  Moulds 

307.  Fragment  with  a bit  of  naturalistic  grapevine. 

308.  In  the  principal  field,  a fragment  of  a vine  branch  and  a 
single  tendril.  Above,  at  the  left,  (Ra)sini ; at  the  right,  Memm  {i) . 

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ARRETINE  POTTERY 


Above  the  inscription,  a conventional  laurel  leaf  pattern,  and  above 
that,  a tongue  pattern. 

Cf.  for  the  inscriptions,  C.I.L.  XI,  6700,  552. 

309.  (Plate  XIV).  The  decoration  in  the  main  field  consists 
of  a naturahstic  spray  of  aster (?).  Below,  a conventional  laurel 
leaf  pattern  serves  to  set  off  the  principal  design  from  the  row  of 
palmettes  with  single  bosses  between  them  which  decorates  the  lower 
field.  At  the  top  of  the  main  field,  a row  of  bosses. 

310.  A naturahstic  branch  is  joined  by  a rope  to  an  equally 
naturahstic  spray  of  ivy.  Above,  a tongue  pattern  and  a row  of 
bosses  on  a low  moulding. 

311.  In  the  main  field,  a band  of  alternating  ivy  leaves  and 
berries.  Above,  tongue  pattern,  row  of  bosses,  and  a plain 
moulding. 

312.  In  the  main  field,  tendrils  and  a bunch  of  three  berries  on 
a stem.  Above,  lam-el  leaf  pattern,  egg  and  dart,  and  three  simple 
mouldings. 

313.  About  one-third  of  a mould  for  a small  bowl.  The  deco- 
ration is  in  two  fields, — in  the  lower,  a band  of  alternating  ohve 
leaves  and  berries  pointing  toward  the  left;  in  the  upper,  a similar 
band  pointing  toward  the  right,  with  a half  open  leaf  associated 
with  every  berry.  Between  the  two  fields,  a rope  pattern.  Above 
the  upper  field,  a rope  pattern  and  a plain  moulding. 

Cf.  the  silver  vase  from  Bosco  Reale,  Mon.  Piot  5,  pi.  17. 

314.  The  principal  field  was  set  off  by  two  grooves  at  the  bot- 
tom and  decorated  with  a branch  of  ohve  leaves  and  berries,  of  which 
little  is  preserved. 


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ARRETINE  POTTERY 


315.  In  the  principal  field,  a spray  of  olive  leaves  and  berries. 
Above,  a row  of  palm  leaves  pointing  downward  and  a rope  pattern. 

316.  From  a mould  for  a small  cup.  About  the  lower  part, 
groups  of  three  conventional  acanthus  leaves  (one  large  leaf 
between  two  small  ones)  alternate  with  single  broad  round  leaves 
with  well  marked  central  ribs.  Above,  in  the  principal  field,  a spray 
of  olive  leaves  and  berries.  Above  that,  a conventional  laurel  leaf 
pattern. 

317.  In  the  principal  field,  a spray  of  olive  leaves  and  berries. 
Above,  tongue  pattern  and  a row  of  bosses. 

Fragments  of  Vases 

318.  (Plate  XXI).  More  than  half  of  a large  bowl.  The 
principal  field  is  set  off  by  two  plain  mouldings  below  and  by  a 
tongue  pattern,  a row  of  bosses  over  a plain  moulding,  and  four 
simple  mouldings  above.  It  is  decorated  with  a spray  of  grapevine, 
with  leaves,  tendrils,  and  bunches  of  grapes  worked  out  with  the 
utmost  care.  At  intervals,  birds  are  introduced,  some  flying,  others 
resting  quietly  on  the  branches  of  the  vine ; two  are  so  placed  as  to 
appear  to  peck  at  the  bunches  of  grapes.  In  the  upper  part  of  the 
field,  the  impressions  of  two  stamps  with  signatures  appear,  but  both 
are  so  badly  rubbed  as  to  be  illegible.  The  design  is  reproduced 
on  Plate  XXI  from  a part  of  the  vase  only. 

319.  (Plate  XXI).  Lower  part  of  a straight-sided  pyxis. 
The  foot  has  the  form  of  two  simple  mouldings  projecting  slightly. 
The  principal  field  contains  a naturalistic  grapevine.  Below,  at 

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ARRETINE  POTTERY 


intervals,  groups  of  three  plant  stems  rise  from  the  simple  mould- 
ing which  hounds  the  field  at  the  bottom. 

320.  (Plate  XXII).  Fragment  of  a shallow  bowl,  with  very 
naturalistic  grapevine.  The  ribs  of  the  leaves,  separate  grapes,  and 
tendrils  are  all  brought  out  with  great  skiU. 

321-324.  Four  fragments  with  similar,  but  less  careful,  grape- 
vine as  decoration. 

325.  (Plate  XXII).  From  the  upper  part  of  a bowl.  In  the 
principal  field,  an  ivy  branch  of  very  careful  execution;  the  articu- 
lations of  the  leaves,  the  individual  berries,  and  the  tendrils  are  aU 
rendered  with  great  fidelity.  Above,  a conventional  laurel  leaf 
pattern,  two  concave  mouldings,  and  a strongly  projecting  lip. 

326.  Fragment  with  similar  ivy  branch,  same  careful  execution. 

327.  From  the  upper  part  of  a large  bowl.  On  the  body,  ivy 
branch  of  careless  execution  and  P.  Corn{eli).  Above,  tongue 
pattern,  row  of  bosses,  and  hatched  convex  moulding. 

Cf.  Inghirami,  Monumenti  Etruschi,  Serie  V,  pi.  1,  No.  2;  for 
the  inscription,  C.I.L.  XI,  6700,  204  i. 

328-330.  Three  fragments  with  similar  ivy  branches. 

331.  (Plate  XXII) . The  principal  field  is  set  off  by  two  plain 
mouldings  below,  and  decorated  with  a spray  of  oak  leaves  and 
acorns.  The  leaf  is  that  of  the  winter  oak  {quercus  sessiliflora) . 

332.  Fragment  with  similar  decoration. 

333.  In  the  principal  field,  part  of  a twisted  pillar,  surmounted 
by  the  inscription  P.  Cornel{i).  At  either  side  of  this,  a festoon 
of  fruits  and  fiowers,  attached  by  a fillet.  Above,  egg  and  dart. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  204  i. 

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ARRETINE  POTTERY 


334.  Similar  fragment,  with  a festoon  of  fruits  and  flowers  as 
the  principal  decoration,  here  attached  to  a pahnette  which  ter- 
minates in  volutes  at  the  sides.  Above,  egg  and  dart,  row  of  bosses, 
and  a convex  moulding  with  oblique  hatching. 

335.  (Plate  XXII).  In  the  principal  field,  the  ends  of  two 
festoons  of  fruit  and  flowers  are  preserved.  Between  them  and 
partly  obhterating  the  end  of  one,  (P.)  Cornel{i).  Above,  a band 
of  double  rings.  On  the  hp,  which  is  sharply  offset  and  decorated 
with  simple  mouldings  above  and  below,  two  serpents  with  bodies 
intertwined.  These  were  made  separately  and  attached. 

Cf.  Nos.  276,  506,  and  Fabroni,  pi.  6,  No.  1;  for  the  inscription, 
C.I.L.  XI,  6700,  204  i. 

336.  From  the  lower  part  of  a bowl.  Of  the  decoration  of  the 
principal  field,  only  a bit  of  a festoon  of  fruits  and  flowers  is  pre- 
served. Below  this,  and  separated  from  it  by  two  convex  mould- 
ings (the  lower  cross-hatched),  is  a lower  field,  ornamented  with 
a conventional  flower  spray  and  a small  candelabrum  (?) . At  the 
left  of  this,  the  tendrils  of  another  plant  appear.  The  lower  edge 
of  the  lower  field  is  rippled. 


(k)  Conventionalized  Plant  Forms  and  Other  Conven- 
tional Patterns 

Fragments  of  Moulds 

337.  In  the  principal  field,  a spray  of  conventional  leaves  and 
tendrils.  From  this,  at  the  right  hand  side  of  the  fragment,  rises 
a conventional  bud,  surmounted  by  a rosette  and  by  two  pointed 

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ARRETINE  POTT^iRY 

staffs  with  spirals.  Above,  at  the  left,  Rasini,  at  the  right,  Memmi, 
and  above  the  inscriptions,  two  plain  mouldings. 

Cf.  for  the  inscriptions,  C.I.L.  XI,  6700,  552. 

338.  At  the  left,  conventional  spray  of  acanthus  leaves.  At  the 
right,  conventional  acanthus  leaf.  Above,  a rosette  with  tendrils. 

339.  In  the  principal  field,  two  sprays  of  conventional  foliage, 
with  tendrils  above  and  with  two  flowers  on  tendril-like  stems  below. 
Below  the  field,  a conventional  laurel  leaf  pattern,  a row  of  bosses, 
and  a plain  moulding. 

340.  A plain  moulding  with  a row  of  bosses  on  each  side  divides 
the  surface  into  two  fields,  each  of  which  is  decorated  with  conven- 
tional sprays. 

341.  (Plate  XIV).  The  design  consists  of  single  large  acan- 
thus leaves  rising  from  the  bottom  of  the  bowl,  with  conventional 
flowering  plants  between  them.  These  are  represented  by  three 
pairs  of  small  leaves  surmounted  by  a conventional  bud.  Above, 
tongue  pattern  and  rosette  band. 

342.  The  design  is  similar  to  that  of  No.  341,  only  the  bud  is 
here  placed  on  a curving  stem  without  leaves.  Above,  two  rows 
of  bosses  and  a band  of  hatched  rings. 

343.  A long  slender  leaf  alternates  with  a shorter,  broader  one. 
The  shorter  leaf  is  surmounted  by  a flower.  Above,  traces  of  a band 
of  rosettes. 

344.  At  the  left,  a spray  of  conventional  foliage.  At  the  right, 
a conventional  leaf,  with  a small  leaf  at  the  bottom.  Between 
the  spray  and  the  leaf  is  a small  palmette,  with  a rosette  at  the 
bottom  and  a double  boss  above  it.  At  the  right  of  the  leaf,  part 

[ 186  ] 


ARRETINE  POTTERY 


of  a similar  palmette.  The  field  is  bordered  below  by  two  plain 
mouldings. 

345.  From  a mould  for  a flat  cover.  The  decoration  was  ar- 
ranged in  concentric  bands,  each  bounded  by  two  plain  mouldings. 
The  fragment  contains  parts  of  two  of  these  fields.  The  outer  one 
contains  groups  of  three  conventional  acanthus  leaves,  alternating 
with  small  palmettes,  the  whole  bound  together  by  curving  stems. 
The  inner  field  has  a design  of  overlapping  palm  leaves. 

346.  Small  fragment  of  the  lower  part  of  a bowl,  with  parts  of 
a large  acanthus  leaf  and  a pointed  staff  with  spirals,  probably 
from  a design  in  which  these  elements  occurred  alternately. 

347.  In  the  principal  field,  a large  flower  on  a cimving  stem. 
Below,  a tendril.  At  the  right,  part  of  a signature,  now  illegible. 
Above  the  field,  a plain  moulding,  followed  by  a row  of  bosses,  a 
band  of  heart-shaped  leaves  with  rings  between  them,  and  a second 
row  of  bosses. 

348.  In  the  principal  field,  a conventionalized  tree  between  two 
long  tongues,  probably  part  of  a design  in  which  these  two  ele- 
ments alternated.  Above,  at  the  left,  the  inscription  Philero{s). 
Above  the  field,  tongue  pattern,  row  of  bosses,  and  a plain 
moulding. 

The  slave’s  name  Phileros  occurs  with  the  names  of  at  least  four 
different  potters:  C.  Anni  {C.I.L.  XI,  6700,  53);  P.  Cornelius 
{C.I.L.  XI,  6700,  239)  ; Memmius  {C.I.L.  XI,  6700,  383)  ; and 
C.  Tellius  {C.I.L.  XI,  6700,  669). 

349.  (Plate  XV).  The  principal  field  is  decorated  with  a 
series  of  complicated  patterns,  each  composed  of  many  elements, 

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ARRETINE  POTTERY 


and  these  were  repeated  all  around  the  vase.  In  the  fragment,  one 
complete  pattern  and  more  than  half  of  another  are  preserved.  The 
central  point  for  each  pattern  is  determined  by  a series  of  intersect- 
ing semi-circles,  each  of  which  is  composed  of  two  plain  mouldings. 
At  the  point  where  these  semi-circles  meet,  three  flower  petals 
flanked  by  pahnettes  placed  on  their  sides  form  the  nucleus  of  the 
pattern.  Below  the  petals  is  a pendant  conventional  leaf,  with  a star 
of  smaller  leaves  below  it.  Above  the  petals,  two  pointed  staffs  with 
rings  rise  obliquely,  flanking  a small  vase.  Above  this  is  a conven- 
tional plant  with  four  leaves,  surmounted  by  a large  palmette. 

The  spaces  between  the  principal  patterns  are  filled  as  follows: 
In  the  upper  field,  the  point  where  the  semi-circles  intersect  is  cov- 
ered by  a six-petalled  flower,  with  an  ornamental  bud  on  each  side, 
a palmette  above,  and  a pendant  leaf  below.  In  the  lower  field,  the 
centers  of  the  principal  patterns  are  connected  by  a band  of 
pendants,  resembling  spearheads  strung  on  a cord  (the  whole  sug- 
gesting a necklace),  with  a larger  central  pendant  in  the  form  of 
a rosette,  from  which  hangs  a fillet.  Above,  the  whole  is  bordered 
by  a band  of  rosettes  and  a row  of  pendant  leaves;  below,  by  two 
plain  mouldings. 

Cf.  for  a similar  arrangement  of  the  decoration,  B.  J.  96,  pi.  6, 
No.  65. 

350.  Fragment  from  a similar  mould.  The  principal  pattern 
is  made  up  of  the  same  elements  as  the  principal  pattern  of  No.  349, 
arranged  in  the  same  way,  though  the  stamps  were  for  the  most  part 
smaller.  In  place  of  the  chain  of  pendants,  a conventional  laurel 
leaf  pattern  here  rims  off  to  the  right  and  left.  Above,  at  the  left, 

[ 138  ] 


ARRETINE  POTTERY 


a bit  of  a rosette  shows  that  the  decoration  was  not  exactly  similar 
to  that  of  Yo.  349. 

351.  (Plate  XV).  The  principal  field  is  bordered  below  by 
four  simple  mouldings.  From  these  spring  the  complicated  pat- 
terns which  decorate  the  body  of  the  vase.  They  are  of  two  sorts, 
which  alternated  with  each  other.  The  simpler  form  consists  of  an 
acanthus  leaf,  surmounted  by  a calyx  ornament  with  a conventional 
bud  above  it.  The  more  complicated  pattern  begins  with  two  pairs 
of  curving  leaves,  one  above  the  other,  surmounted  by  a conven- 
tional leaf,  displayed,  a conventional  bud  and  an  ear  of  wheat. 
From  the  base  of  the  conventional  leaf  and  the  ear  of  wheat, 
a pointed  staff  with  rings  rises  obliquely  on  either  side.  The  field  is 
bordered  above  by  two  plain  mouldings,  partially  hidden  by  a row 
of  pahnettes  with  rosettes  at  their  bases.  Between  the  rosettes,  and 
also  between  the  points  of  the  pahnettes,  are  rings  with  dotted 
centers. 

352.  (Plate  XIV).  At  the  bottom  of  the  principal  field,  a row 
of  overlapping  pahn  leaves  and  a naturalistic  spray  of  ivy  leaves 
and  berries.  Of  the  decoration  of  the  field,  only  one  portion  is  pre- 
served— a conventional  tree(?),  on  which  a bird,  perhaps  an  owl, 
perches.  At  either  side  of  this,  a pointed  staff  with  spirals  rises 
obliquely.  At  the  left,  a bit  of  another  pattern,  apparently  different 
from  the  one  that  is  preserved.  At  the  top  of  the  field,  an  irregular 
double  row  of  bosses  suggests  a festoon.  From  this,  at  the  point 
where  it  is  caught  up  above  the  bird  in  the  main  field,  hangs  a fiower, 
and  at  the  centre  of  each  pendant,  a small  leaf  is  suspended.  Above, 
egg  pattern  and  two  plain  mouldings. 

[ 139  ] 


ARRETINE  POTTERY 


353.  (Plate  XIV).  The  body  of  the  vase  is  bordered  above 
and  below  by  a plain  moulding.  It  was  divided  into  fields  by  pairs 
of  vertical  mouldings,  one  of  which,  decorated  at  the  top  with  a 
rosette,  is  preserved.  Of  the  patterns  which  decorated  these  fields, 
only  a little  more  than  half  of  one  and  two  small  portions  of  another 
appear,  but  these  show  that  the  form  was  the  same  in  every  field, 
and  as  the  pattern  was  evidently  symmetrical,  the  decoration  of  the 
entire  vase  can  be  reconstmcted.  The  pattern  consists  of  a central 
stalk  which  rises  nearly  to  the  center  of  the  field.  From  its  base 
spring  leaves  and  flowers,  namely,  a small  curling  leaf,  a long  leaf 
with  serrated  edges,  a bud  on  a long  stem,  and  what  is  perhaps 
meant  for  a seed  pod,  made  up  of  a pointed  staff  with  spirals,  with  a 
large  boss  concealing  the  lower  part  of  it.  The  stem  of  this  “ seed 
pod  ” has  the  form  of  a conventional  laurel  leaf  pattern.  At  the 
top  of  the  stalk,  a crown  of  leaves,  partially  covered  by  a rosette, 
serves  as  a base  for  three  large  ribbed  calyx  ornaments,  each  sur- 
mounted by  a pointed  staff  with  spirals.  Between  each  pair  of  orna- 
ments is  a flower  on  a cundng  stem. 

354.  The  body  of  the  vase  was  divided  into  fields  by  fiat  mould- 
ings rumiing  obhquely.  The  points  where  these  mouldings  inter- 
sect were  decorated  with  four  palmettes  radiating  from  a center, 
the  uppermost  framed  in  by  curving  leaves.  Parts  of  two  of  these 
patterns  are  preserved.  Below  one  of  them,  the  end  of  a pointed 
staff  with  rings  appears.  In  the  space  between  the  two  patterns,  part 
of  an  elaborate  ornament  made  up  of  conventional  flowers  and  buds. 

355.  Fragment  with  a pattern  similar  to  the  principal  pattern 
of  No.  354.  Between  the  four  palmettes  is  a large  boss,  covered 

[ 140  ] 


ARRETINE  POTTERY 


with  smaller  bosses.  Above  the  uppermost  palmette  is  a small, 
cross-hatched  boss,  and  at  each  side  of  it,  a rosette.  Above,  a row  of 
bosses  and  an  egg  and  dart. 

356.  The  body  of  the  vase  was  divided  into  fields  by  vertical 
mouldings  surmounted  by  large  palmettes,  and  each  field  was 
divided  into  an  upper  and  a lower  portion  by  a pair  of  curving 
mouldings  run  from  the  base  of  one  palmette  to  that  of  the  next. 
Only  one  lower  field  has  its  decoration  preserved — a single  conven- 
tional leaf  rising  from  the  lower  edge  of  the  field.  The  center  of 
each  upper  field  is  occupied  by  a large  rosette.  Above  this,  con- 
nected with  the  top  of  the  dividing  palmettes  by  a curving 
moulding,  is  a smaller  rosette,  surmounted  by  a palmette.  The 
decorative  patterns  above  the  field  consist  of  a row  of  bosses,  a band 
of  rosettes,  a second  row  of  bosses,  and  a plain  moulding. 

Cf.  No.  413. 

357.  Bottom  of  a mould  for  a large  bowl.  The  lower  edge  of 
the  principal  field  is  marked  by  a row  of  triangular  pendants. 
Above,  several  tendrils,  a palmette,  and  a flower  with  a long  spike 
are  all  that  remains  of  the  decoration. 

358.  Small  fragment.  Of  the  decoration,  the  most  striking 
feature  is  a phiale  with  ribbed  body  and  high  curved  handles,  hang- 
ing on  a chain.  At  the  right  and  at  the  left  of  this,  there  are  traces 
of  branches,  in  one  case  associated  with  a pointed  staff  with  spirals, 
but  the  connection  between  these  and  the  phiale  cannot  be  made  out. 

359.  Two  fields  are  set  off  from  each  other  by  a large  calyx 
ornament,  surmounted  by  a palmette.  Each  field  is  bounded  above 
by  a rainbow  shaped  band  (cf.  No.  160),  rolled  over  into  volutes 

[ ] 


ARRETINE  POTTERY 


at  the  ends.  At  the  points  where  these  volutes  approach  the  cen- 
tral ornament,  two  pointed  staffs  with  spirals  run  off  obliquely. 
Under  the  hands  there  are  traces  of  radiating  pointed  staffs  with 
spirals.  Above  the  whole,  a row  of  bosses. 

360.  Above  a bunch  of  leaves  of  grass,  a pahnette  with  a fillet 
woimd  about  it.  At  the  right,  a trace  of  another  ornament.  Above, 
tongue  pattern  and  row  of  bosses. 

361.  In  the  field,  foliage  with  birds  above  it.  Only  one  leaf 
with  a bird  on  each  side  of  it  can  now  be  made  out.  Above,  two 
plain  mouldings,  a band  of  rosettes,  a plain  moulding,  and  a border 
of  rings. 

362.  Above  a plain  moulding,  which  bounds  the  principal  field 
below,  an  elaborate  rosette  surrounded  by  tendrils. 

363.  The  principal  field  is  set  off  by  two  simple  mouldings 
below  and  by  a row  of  bosses  above.  It  is  divided  into  smaller  fields 
by  pairs  of  simple  mouldings  running  obliquely.  The  points  where 
these  meet  the  lower  mouldings  are  marked  by  rosettes.  Of  the 
decoration  of  the  smaller  fields,  only  a part  of  a large  rosette  in  one 
field  and  in  the  other  a pointed  staff  with  rings  with  a group  of 
three  bosses  below  it  are  preserved. 

364.  Pairs  of  simple  mouldings  running  both  vertically  and 
obliquely  divide  the  body  of  the  vase  into  many  fields.  Aside  from 
this  framework,  a small  rosette  at  the  point  where  a number  of  fines 
cross  and  two  much  more  elaborate  rosettes  in  two  of  the  smaller 
fields  are  all  that  is  preserved  of  the  decoration. 

365.  (Plate  XIV).  A pattern  made  up  of  pairs  of  volutes 
rising  from  a pair  of  leaves  (cf.  No.  232)  forms  the  principal 

[ 142  ] 


ARRETINE  POTTERY 


motive.  It  is  placed  on  its  side,  and  evidently  ran  all  around  the 
vase,  the  direction  of  each  ornament  being  the  reverse  of  the  one 
next  to  it.  The  short  spaces  between  each  pair  of  patterns  are 
filled  in  each  case  with  a pair  of  palmettos  united  by  a ring  with 
hatching.  Above,  a band  of  hatched  rings  marks  the  upper  edge 
of  the  field. 

366.  (Plate  XIV).  Fragment  of  a mould  for  a low,  saucer 
shaped  bowl.  The  body  of  the  bowl  is  set  off  below  by  two  simple 
mouldings.  It  is  decorated  with  a band  of  large  bosses,  cross- 
hatched.  From  these,  at  intervals  of  every  two  bosses,  hang  pen- 
dants in  the  form  of  flower  palmettes.  Above,  two  simple  mould- 
ings mark  the  upper  limit  of  the  principal  field.  On  the  left  hand 
side  of  the  fragment,  these  two  mouldings  are  obliterated  by  a 
signature,  of  which  ELLI  remains, — probably  [C.  T)elli.  The 
sharply  offset  rim  has  a simple  moulding  at  the  top  and  bottom, 
and  is  decorated  with  the  same  patterns  as  the  body  of  the  bowl. 
The  only  difference  is  that  the  pattern  here  is  reversed,  so  that 
the  cross-hatched  bosses  are  at  the  bottom  and  the  palmettes  rise 
from  them. 

For  the  inscription,  cf.  C.I.L.  XI,  6700,  660. 

367.  Smaller  fragment  from  the  same  mould  as  No.  366. 

368.  (Plate  XIV).  Of  the  principal  decoration  nothing  is 
preserved  but  a bit  of  foliage  and  a knotted  cord.  Above,  a row 
of  heart-shaped  leaves  laid  on  their  sides,  a row  of  tassel-like  orna- 
ments each  with  a ring  at  the  top,  and  a row  of  small  rosettes 
enclosed  in  hatched  rings. 

Cf.  No.  416  and  B.  J.  96,  pi.  6,  No.  66. 

[ 143  ] 


ARRETINE  POTTERY 


369.  The  principal  field  is  decorated  with  a series  of  large  tear 
drop  ornaments,  which  cover  the  whole  width  of  the  body  of  the 
vase.  Between  them,  groups  of  six  bosses,  forming  rosettes. 
Above,  a row  of  bosses. 

370.  From  a mould  for  a shallow  bowl.  The  body  was  ribbed 
verticaUy,  and  decorated  at  the  top  with  a row  of  bosses.  A concave 
moulding,  which  marks  the  transition  from  the  body  of  the  vase 
to  the  vertical  rim,  is  decorated  with  a tongue  pattern.  The 
rim  itself  is  decorated  with  a row  of  bosses,  a plain  moulding, 
a band  of  heart-shaped  leaves  laid  on  their  sides,  and  a row  of 
bosses. 

371.  In  the  main  field,  the  upper  part  of  a large  pahnette. 
Above,  a row  of  triple  bosses  between  two  plain  mouldings.  On 
the  concave  moulding  which  forms  the  transition  to  the  rim,  a band 
of  heart-shaped  leaves  laid  on  their  sides.  On  the  rim  itself,  a hand 
of  rosettes. 

372.  Fragment  from  a similar  mould.  The  pahnette  in  the 
main  field  is  here  laid  on  its  side,  the  top  of  the  field  marked  by  a 
row  of  double  bosses,  the  concave  moulding  decorated  with  palm- 
ettes,  and  the  rim  with  heart-shaped  leaves  laid  on  their  sides. 

373.  Fragment  with  a pahnette  similar  to  those  of  Nos.  371  and 
372  in  the  main  field.  Beside  it,  a pointed  staff  with  cross-hatching. 

374.  Fragment  with  a pahnette  similar  to  those  of  Nos.  371-373 
in  the  principal  field. 

375-381.  Seven  small  fragments  of  moulds  with  conventional 
plant  motives  and  patterns.  They  add  no  new  types  or  combina- 
tions to  those  already  described. 

[ 144  ] 


ARRETINE  POTTERY 


Fragments  of  Vases 

382.  (Plate  XXII).  From  a shallow  bowl.  The  principal 
field  is  bounded  at  top  and  bottom  by  a row  of  bosses,  and  decorated 
with  a spray  of  conventional  leaves,  with  acorns  and  a pointed  staff 
with  spirals  springing  from  it.  At  the  right,  a slender  palmette, 
with  a pointed  staff  with  spirals  springing  obliquely  from  its  base. 
Above  this,  31.  Per{enni) . 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  435  o. 

383.  Fragment  with  a similar  decoration  of  conventional  leaves 
and  acorns. 

384.  (Plate  XXIII ) . Small  fragment  from  a large  bowl  deco- 
rated in  a manner  similar  to  the  decoration  of  No.  222,  with  designs 
made  from  the  same  stamps.  It  is  highly  probable  that  small  statu- 
ettes similar  to  those  of  No.  222  formed  part  of  the  ornament,  but 
in  the  preserved  portion,  only  conventionalized  plant  motives 
appear.  The  vertical  double  mouldings  which  divide  the  body  of 
the  vase  into  small  fields  extend  3.5  cm.  above  the  base  before  they 
are  met  by  oblique  mouldings,  and  have  cross-hatched  bosses  at 
their  bases.  The  rosettes  which  cover  the  points  of  juncture  of  the 
mouldings  are  large  and  have  centers  in  the  form  of  cross-hatched 
bosses.  Only  one  field  is  well  preserved;  the  decoration  (from  bot- 
tom to  top)  consists  of  a crown  of  leaves  with  flowers  on  curving 
stems  springing  from  it,  a single  leaf  with  two  similar  flowers  rising 
from  it,  a cross-hatched  boss,  a flower,  and  a palmette.  Of  the  deco- 
ration of  the  other  lower  fields,  enough  is  preserved  to  show  that  al- 
ternate fields  contained  a single  leaf,  probably  with  a figure  above  it. 

[ 145  ] 


ARRETINE  POTTERY 


385.  (Plate  XXIII).  Fragmentary  saucer  on  a low  foot. 
Preserved  diameter,  6.3.  The  principal  field  was  divided  into  four 
parts  by  four  pairs  of  leaves  springing  from  an  inverted  flower. 
One  of  them  is  preserved  entire,  the  others  only  partially.  Between 
each  pair  of  these  ornaments  were  two  rosettes  (only  four  are  pre- 
served) and  above  each  pair  of  leaves  a single  rosette  (one  pre- 
served). The  rim  sets  off  sharply,  is  slightly  concave,  and  is  orna- 
mented with  two  grooves  and  a hatched  moulding  at  the  bottom. 

386.  Fragment  of  the  lower  part  of  a bowl,  with  a crown  of 
conventional  leaves  pointing  upward.  Above  one  of  them,  a rosette. 

387.  Part  of  a small  cup.  The  surface  is  divided  into  fields  by 
pairs  of  vertical  mouldings,  and  each  field  is  filled  by  a large  leaf, 
rising  from  a crown  of  smaller  leaves  (only  one  well  preserved). 

388.  From  the  upper  part  of  a large  bowl.  The  body  was 
divided  into  fields  by  series  of  three  oblique  mouldings,  the  points 
of  juncture  being  marked  by  rosettes.  Parts  of  three  such  fields 
appear  in  the  fragment,  one  with  a conventional  leaf  as  decoration, 
another  with  a palm  leaf  flanked  by  a pointed  staff  with  spirals. 
The  third  field  contains  only  a part  of  a pointed  staff.  Above,  a 
row  of  double  rings,  partly  obliterated  by  one  of  the  grooves  that 
mark  the  beginning  of  the  rim. 

389.  From  the  body  of  a bowl.  The  decoration  is  made  up  of 
a festoon  of  fruits  and  flowers  placed  vertically,  with  conventional 
plant  sprays  and  pointed  staffs  with  spirals  springing  obliquely 
from  the  sides.  Below,  a hatched  moulding  marks  the  lower  edge 
of  the  field. 

390.  From  an  almost  straight  sided  bowl.  In  the  center,  a row 

[ 146  ] 


ARRETINE  POTTERY 


of  four-petalled  flowers  with  two  simple  mouldings  on  either  side 
divides  the  field  into  an  upper  and  a lower  part.  In  the  upper  part, 
there  remains  a fragment  of  a pattern  made  up  of  alternating 
calyx  ornaments  and  rosettes,  with  a flower  rising  from  one  rosette 
and  beside  it  a circle,  filled  with  meaningless  bits  of  conventional 
laurel  leaf  pattern.  In  the  lower  part,  a similar  design  has  flowers 
hanging  from  the  rosettes,  and  between  the  flowers,  another 
rosette. 

391.  In  the  principal  field,  a bit  of  a spray  of  conventional 
leaves  and  the  signature  Primus.  Above,  egg  and  dart,  row  of 
bosses,  and  a hatched  moulding. 

For  the  inscription,  cf.  C.I.L.  XI,  6700,  244. 

392.  On  the  body  of  the  vase,  a bit  of  a conventional  spray,  with 
a palmette  and  a rosette  above  it.  A simple  moulding  marks  the 
top  of  the  field.  Over  the  ornament,  a carelessly  modelled  mask 
has  been  added,  probably  as  a handle  ornament. 

393.  The  body  of  the  vase  shows  traces  of  a division  into  tri- 
angular fields,  decorated  with  fruit  and  flower  patterns.  Above,  the 
principal  field  is  bordered  by  a very  small  tongue  pattern.  The 
rim  is  divided  into  two  parts  by  a plain  moulding,  and  the  lower  one 
of  the  two  is  decorated  with  a Silenus  head,  made  separately  and 
applied. 

394.  Fragment  of  a low  bowl,  decorated  with  overlapping  pahn 
leaves.  Across  the  top  of  a leaf  in  the  upper  row,  P.  Cornel  {i). 
Above,  a row  of  bosses  and  a plain  moulding. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  204  i. 

395.  (Plate  XXIII).  From  a shallow  bowl.  In  the  principal 

[ 147  ] 


ARRETINE  POTTERY 


field,  between  two  rows  of  bosses,  are  alternating  leaves  and  pointed 
staffs  with  spirals,  grouped  about  a central  stem. 

Cf.  Fabroni,  pi.  2,  No.  1 and  pi.  3,  No.  6;  B.  J.  96,  pi.  6, 
No.  60. 

396-400.  Five  fragments  with  similar  decoration. 

401.  Part  of  a fiat  bowl  or  cup.  The  principal  field  is  decorated 
with  alternating  pointed  leaves  and  pointed  staffs  with  spirals,  the 
lower  part  of  this  pattern  is  covered  by  a laurel  leaf  pattern. 
Above,  a row  of  bosses  and  plain  mouldings. 

402-407.  Six  fragments  with  similar  patterns  in  the  main  field. 

408.  From  a deep  bowl  with  high  rim.  The  surface  is  divided 
into  fields  by  sets  of  three  oblique  mouldings,  the  points  of  juncture 
marked  by  rosettes.  Each  field  contains  a single  palm  leaf.  The 
upper  part  of  the  body  of  the  vase  is  decorated  with  a band  of 
double  rings.  The  lower  edge  of  the  rim  is  marked  by  a broad,  cross- 
hatched  moulding,  above  which  a fragment  of  a rosette  appears. 

409.  Small  fragment  of  a similar  vase.  The  dividing  mouldings 
are  in  groups  of  four,  and  are  not  straight,  but  curved.  The  points 
of  juncture  are  marked  by  a rosette  and  a palm  leaf. 

410.  Fragment  of  the  lower  part  of  a bowl  on  a slender  foot. 
The  decoration,  so  far  as  it  is  preserved,  consists  of  a row  of  double 
rings  about  the  lower  part  of  the  bowl,  followed  by  a series  of  fluted 
mouldings  in  two  ranges.  The  first  range  consists  of  eight  mould- 
ings with  a slight  curvature,  the  second  of  eight  similar  mouldings 
springing  from  the  same  points,  but  with  a much  greater  curvature. 
The  points  where  the  mouldings  meet  are  covered  by  rosettes. 

411.  Fragment  of  a cup.  Lower  diameter,  6.  The  surface  is 

[ 148  ] 


ARRETINE  POTTERY 


divided  into  fields  by  groups  of  three  vertical  mouldings,  each  with 
a rosette  at  the  lower  end,  connected  at  the  bottom  by  a single  hori- 
zontal moulding.  Only  one  field  is  well  preserved.  Its  decoration 
consists  of  a slender  palmette  on  a long  stem.  Traces  of  similar 
stems  in  the  other  field  suggest  that  the  decoration  was  the  same  in 
all  the  fields. 

412.  Fragment  of  a similar  palmette  on  a long  stem,  associated 
with  three  oblique  mouldings. 

413.  From  a large,  straight-sided  bowl.  Two  groups  of  three 
plain  mouldings  decorated  at  their  upper  ends  by  rosettes  and  sur- 
mounted by  pairs  of  leaves  and  palmettes  serve  to  set  off  a field,  and 
two  curving  mouldings  which  connect  the  rosettes  divide  the  field 
into  upper  and  lower  parts.  In  the  lower  part,  only  a portion  of  a 
slender  palmette,  similar  to  those  of  Nos.  411  and  412  remains.  In 
the  upper  part,  two  curving  mouldings,  which  apparently  sprang 
from  the  tops  of  the  palmettes,  meet  above  the  centre  of  the  field. 
The  point  where  they  intersect  is  marked  by  a rosette.  Above  this 
is  a flower  bud  on  a curving  stem,  and  below  it,  hung  upon  two 
cords,  a larger  rosette. 

Cf.  No.  356. 

414.  From  a shallow  bowl.  The  lower  part  is  decorated  with 
a tongue  pattern  pointing  upward,  a row  of  bosses,  and  a simple 
moulding.  The  upper  part  has  a simple  moulding,  with  a row  of 
bosses  on  it,  and  above  that  an  ornament  formed  of  two  palmettes 
laid  on  their  sides,  with  a rosette  between  them. 

415.  Smaller  fragment  from  the  same  or  a similar  vase,  with 
similar  palmette  and  rosette  ornamentation. 

[ 149  ] 


ARRETINE  POTTERY 


416.  The  body  of  the  vase  is  decorated  (from  bottom  to  top) 
with  a band  of  small  rosettes,  a row  of  tassel-like  ornaments,  and  a 
band  of  rosettes  enclosed  in  hatched  circles.  In  the  center  of  the 
field,  a plastic  bearded  head  covers  the  two  lower  patterns.  A break 
at  the  top  of  the  head  shows  that  it  was  a handle  ornament. 

Cf.  No.  368  and  B.  J.  96,  pi.  6,  No.  66. 

417.  (Plate  XXIII) . From  a large  bowl.  The  principal  field 
has  a decoration  with  alternating  “ tongues  ” and  pointed  staffs 
with  spirals,  the  latter  terminated  in  each  case  by  a rosette.  Above, 
bosses  arranged  in  circles. 

Cf.  Inghirami,  Monumenti  Etruschi,  Serie  V,  pi.  1,  No.  5;  and 
for  a similar  decorative  motive  in  silver,  Der  Hildesheimer  Silber- 

fundy  pi.  17. 

418.  Fragment  with  similar  decoration.  In  the  field,  P. 
Cornel{i). 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  204  i. 

419.  420.  Two  fragments  decorated  in  a similar  manner.  They 
differ  from  No.  417  only  in  the  form  and  the  arrangement  of  the 
minor  patterns. 

421.  From  a small  bowl.  The  body  is  decorated  with  a pattern 
similar  to  the  tongue  pattern  of  Nos.  417-420,  but  arranged  on  a 
curve,  so  that  it  becomes  a tear  pattern.  Below,  a row  of  four- 
petalled  flowers.  Above,  a row  of  bosses  and  a cross-hatched 
moulding. 

Cf.  B.  J.  96,  pi.  6,  No.  57. 

422.  Fragment  with  a similar  pattern.  The  “ tears  ” are  larger, 
and  each  is  bordered  by  a rope  pattern. 

[ 150  ] 


ARRETINE  POTTERY 


423.  (Plate  XXIII).  Fragment  of  the  upper  part  of  a bowl, 
decorated  with  a tear  pattern,  associated  with  pointed  staffs.  A 
pointed  staff  with  spirals  rises  obhquely  from  the  end  of  each  tear. 
Above,  a band  of  rosettes,  an  egg  and  dart,  and  a row  of  bosses. 

424.  Fragment  with  a bit  of  a similar  pattern.  Above,  P. 
Cornel{i),  and  mouldings. 

For  the  inscription,  cf.  C.I.L.  XI,  6700,  204  m. 

425.  (Plate  XXIII).  From  a small  bowl.  The  decoration 
consists  of  a row  of  large  pointed  staffs  rising  from  the  bottom  of 
the  vase.  The  lower  ends  are  covered  with  rosettes,  and  above  the 
pointed  ends  there  are  traces  of  another  band  of  rosettes. 

426.  (Plate  XXIII).  From  a similar  bowl.  The  decoration  is 
made  up  of  club-shaped  ornaments  placed  head  downward.  Each 
is  covered  with  knobs  similar  to  those  of  a knotty  club.  Above,  a 
row  of  bosses. 

427.  (Plate  XXIII).  Fragment  of  a small  cup.  The  prin- 
cipal field  is  covered  with  five  rows  of  conventional  patterns,  not 
unlike  seeds.  Above,  an  egg  and  dart,  largely  destroyed  by  the 
mouldings  at  the  base  of  the  rim.  At  the  left  hand  side  of  the 
fragment,  in  the  midst  of  the  decoration,  the  signature  Rosin {i). 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  520  a. 

(1)  Small  Feagments  with  Inscriptions 

Here  may  also  be  placed  the  following  small  fragments  with 
signatures,  on  which  so  little  of  the  decoration  is  preserved  that  they 
cannot  be  assigned  to  any  definite  group  of  subjects.  Most  of  the 
artists  whose  names  appear  on  these  fragments  belong  distinctly 

[ 131  ] 


ARRETINE  POTTERY 


among  the  makers  of  vases  of  Class  II.  Other  names,  like  Perenni 
and  Tigrani,  although  they  are  more  frequently  found  on  vases  of 
the  first  class,  also  appear  on  vases  in  which  the  decorative  element 
overshadows  the  figures.  All  these  small  fragments,  therefore,  are 
best  classed  together  and  associated  with  vases  of  Class  II. 

428.  Underneath  a bit  of  floral  pattern,  M.  Peren{n)i. 

Cf.  C.I.L.  XI,  6700,  435  p. 

429.  Inside  a row  of  bosses,  Tigran {i) . Above,  a moulding 
with  vertical  hatching  between  two  plain  mouldings. 

Cf.  C.I.L.  XI,  6700,  450  uu. 

430.  Small  fragment  with  the  same  signature,  without  the  row 
of  bosses. 

431.  Of  the  decoration,  only  the  horn  (or  tail?)  of  an  animal  is 
left.  Above  it,  P.  Cornel  {i).  Above  this,  a band  of  rosettes  over 
two  plain  mouldings  and  a row  of  bosses. 

Cf.  C.I.L.  XI,  6700,  204  m. 

432-440.  Nine  similar  fragments  all  stamped  with  the  whole  or 
a part  of  the  signature  P.  CorrielL  The  few  patterns  and  decora- 
tive motives  that  are  preserved  are  all  of  well-known  varieties. 

441.  Nose  and  forehead  of  a figure  facing  left.  In  front  of  it, 
Primus.  Above,  egg  and  dart,  laurel  leaf  pattern,  cross-hatched 
moulding,  and  plain  surface  of  a bell-shaped  rim,  with  a project- 
ing lip  with  plain  moulding  at  the  top. 

Cf.  C.I.L.  XI,  6700,  244. 

442.  From  the  upper  part  of  a bowl.  In  the  principal  field 
the  top  of  a support  can  be  made  out.  Above  it.  Primus. 

443.  Similar  fragment,  with  the  signature  Primus  above  a 

[ 152  ] 


ARRETINE  POTTERY 


support.  From  the  band  on  which  the  name  stands,  a laurel  leaf 
pattern  runs  off.  Above,  a band  of  rosettes  and  mouldings. 

444.  The  principal  field  is  marked  off  by  a row  of  double  rings 
below  and  by  an  egg  and  dart  above.  The  only  part  of  the  decora- 
tion that  is  preserved  is  a support  in  the  form  of  a calyx  ornament 
with  the  signature  Rodo  above  it.  At  the  right  hand  end  of  the 
band  on  which  the  signature  appears  hangs  a fillet. 

Cf.  C.LL.  XI,  6700,  247. 

445.  In  the  field,  the  signature  Antiocu{s),  and  an  indeter- 
minate object.  Above,  a row  of  bosses  in  circles. 

Cf.  C.I.L.  XI,  6700,  209  c and  XV,  4987  d. 

446.  Of  the  decoration,  only  a pointed  staff  with  spirals  which 
rises  from  the  bottom  of  the  vase  and  (at  the  left)  a fillet  can  be 
made  out.  Above  the  pointed  staff,  Heraclida.  Above,  a row  of 
bosses  on  a plain  moulding. 

Cf.  C.I.L.  XI,  6700,  228  c. 

447.  In  the  field,  a column  supports  a band  with  the  signature 
Faustus.  At  each  end  of  the  band,  a fiUet. 

Cf.  note  on  No.  249. 

448.  Above,  a twisted  pillar  with  capital,  C.  Gavi.  At  the  right, 
a bit  of  a fillet.  Above,  a row  of  circles  of  bosses  and  the  customary 
mouldings. 

Cf.  C.I.L.  XI,  6700,  306  /. 

449.  In  the  principal  field,  parts  of  two  names,  NS,  (Cresce)ns, 
and  C.  AN,  C.  An{ni),  can  be  made  out.  Above,  two  rows  of 
bosses  and  parts  of  a flower  palmette  and  a cross-hatched  ring. 

Cf.  C.I.L.  II,  6258,  4. 


[ 153  ] 


AKRETINE  POTTERY 


450.  Above  a row  of  small  conventional  leaves,  the  signature 
Chrestus,  and  a row  of  bosses. 

The  name  Chrestus  is  associated  with  C.  Anni  (No.  235  and 
C.I.L.  XI,  6700,  38  and  XV,  4967) ; P.  Cor{neli)  {C.I.L.  XI, 
6700,  216) ; and  Basini  Memmi  (No.  271) ; cf.  Introduction,  pp. 
27  and  29.  The  forms  of  the  letters  on  No.  450  are  the  same  as 
those  of  C.I.L.  XI,  6700,  38  e. 

451.  Upper  part  of  a twisted  column,  with  a capital  made  up 
of  several  mouldings.  Above  it,  Bithynus.  At  each  side  of  the  band 
on  which  the  inscription  stands,  an  elaborate  fillet.  Above,  a bit 
of  egg  and  dart. 

Cf.  C.I.L.  XI,  6700,  451  v. 


[ 154  ] 


CLASS  III 


Plain  Vases  and  Vases  Decorated  Only  With  Separately 

Modelled  Reliefs 

Complete  or  Nearly  Complete  Vases 

452.  Flat  plate  on  a low  foot.  Height,  4.2.  Diameter,  16.9. 
Height  of  foot,  1.6.  Diameter  of  foot,  8.2.  The  outer  surface  has 
a plain  moulding  just  above  the  point  where  the  foot  is  attached, 
the  inner  has  a plain  moulding  near  the  outer  edge,  and  two  simple 
grooves  a little  more  than  half  way  from  the  center  to  the  outer 
edge.  In  the  center  a stamp  in  the  form  of  the  sole  of  a foot  bears 
the  fabric  mark 

453.  Straight-sided  pyxis  (missing  parts  have  been  supplied  in 
plaster).  Height,  11.1.  Diameter  at  bottom,  13.  The  body  is 
decorated  at  the  bottom  with  a groove,  and  higher  up  with  a series 
of  plain  mouldings  such  as  mark  the  juncture  of  the  body  and  the 
rim  in  the  case  of  decorated  bowls.  On  one  side  a handle  ornament 
is  preserved,  a goat’s  head  made  separately  and  attached  to  the  vase. 

454.  Small  amphora.  Considerable  parts  of  the  neck  and 
shoulder  and  a small  part  of  the  body  have  been  restored. 
Height,  16.5.  Greatest  diameter,  10.5.  On  the  shoulder,  a broad 
hatched  moulding  runs  around  the  vase.  The  handle  ornament  on 
one  side  is  completely  preserved;  it  consists  of  a separately  mod- 
elled ivy  leaf,  placed  point  downward,  with  a large  boss  at  the  tip, 

[ 155  ] 


ARRETINE  POTTERY 


and  a rosette  on  each  side  of  the  hroad  end.  The  ornament  on  the 
other  side  is  the  same,  though  less  well  preserved.  Above  this,  on 
the  hp,  a break  with  a rosette  attached  on  one  side  marks  the  point 
where  the  upper  end  of  the  handle  was  attached. 

455.  Flat  plate,  similar  to  No.  452,  but  with  a straight  rim, 
which  inclines  shghtly  inward.  Height,  3.5.  Diameter,  15.5. 
Height  of  foot,  1.7.  Diameter  of  foot,  9.3.  The  rim  has  a plain 
moulding  at  top  and  bottom,  and  several  irregular  grooves,  which 
may  be  fortuitous.  It  is  divided  into  four  parts  by  small  female 
heads  in  front  view.  The  spaces  between  them  are  decorated  in 
two  cases  with  a small  hon  running  toward  the  left,  in  the  other 
two  cases  with  a small  dog,  also  running  toward  the  left.  All  these 
figures  were  made  separately  and  attached.  The  inside  is  decorated 
with  several  concentric  grooves,  two  of  which  have  a hatched  pat- 
tern between  them.  At  the  center,  inside  a depression  in  the  form 
of  the  sole  of  a foot,  L.  Gelli. 

For  the  inscription,  cf.  C.I.L.  XI,  6700,  SOS  n,s. 

456.  Small  shallow  bowl,  with  straight  rim,  shghtly  inchned 
inward.  Height,  5.  Diameter,  12.  Height  of  foot,  1.  The 
juncture  of  the  rim  with  the  body  of  the  vase  is  marked  by  a 
hea\’y  moulding.  The  rim  is  decorated  with  four  attached  rosettes, 
at  regular  intervals.  Inside,  the  center  is  marked  by  a small  circle, 
and  over  it,  in  the  sole  of  a foot,  is  the  signature  C.  Licini  Fusci, — 
the  last  misspelled  Eusci. 

Cf.  for  the  inscription,  C.I.L.  XI,  6700,  338  h. 

457.  Very  small  bowl.  Height,  3.5.  Diameter,  9.9.  On  the 
body  of  the  bowl,  two  concentric  grooves,  and  an  irregular  row  of 

[ 156  ] 


ARRETINE  POTTERY 


points.  On  the  wide  projection  between  body  and  rim,  two  hatched 
bands  and  two  imitation  handles,  each  consisting  of  a thin  strip 
rolled  over  at  the  ends,  and  depressed  at  the  middle.  Inside,  three 
concentric  grooves,  and  at  the  center,  inside  a depression  in  the  form 
of  the  sole  of  a foot,  an  inscription,  probably  U mb  {rid). 

Cf.  for  the  form  of  the  inscription,  C.I.L.  XV,  5783  i,  and  for 
the  reading,  C.I.L.  XI,  6700,  819  note. 

Fragments  of  Vases 

458.  Part  of  the  rim  of  a flat  plate,  similar  to  Xos.  452  and  455. 
It  is  decorated  with  a diminutive  flgure  of  Cupid  dancing  toward 
the  left  and  playing  a flute,  and  a carelessly  executed  human  head 
in  front  view,  both  made  separately  and  attached. 

459.  Similar  fragment,  decorated  with  a plastic  goat’s  head. 

460.  Part  of  the  bottom  of  a bowl.  Inside,  P.  Corn{eli)  Poti 
associated  with  a small  star. 

Cf.  for  the  signature,  C.I.L.  XI,  6700,  243  d. 

461.  Similar  fragment.  Inside,  P.  Cornel{i). 

Cf.  C.I.L.  XI,  6700,  204  o. 

462.  Similar  fragment.  Inside,  P.  Corn{eli). 

Cf.  C.I.L.  XI,  6700,  243  d. 

463.  Similar  fragment.  Inside,  P.  Corne{li). 

Cf.  C.I.L.  XI,  6700,  204  y. 

464.  Similar  fragment.  Inside,  P.  Cor{neU). 

Cf.  C.I.L.  XI,  6700,  204  g. 

465.  Similar  fragment.  Inside,  Rufio  C.  Anni. 

Cf.  C.I.L.  XI,  6700,  57. 


[ 157  ] 


ARRETINE  POTTERY 


466.  Similar  fragment.  Inside,  the  same  signature  as  that  on 
No.  465,  the  stamp  impressed  twice. 

467.  Similar  fragment.  Inside,  enclosed  in  two  concentric 
circles,  Memmi. 

Cf.  C.I.L.  XI,  6700,  378  e. 

468.  Similar  fragment.  Inside,  enclosed  in  a circle,  Mmm(i). 

Cf.  C.I.L.  XI,  6700,  378  f. 

469.  Similar  fragment.  Inside,  enclosed  in  two  concentric  cir- 
cles, Mem  {mi). 

Cf.  C.I.L.  XI,  6700,  378  h. 

470.  Similar  fragment.  Inside,  enclosed  in  two  concentric  cir- 
cles, Basin  (i). 

Cf.  C.I.L.  XI,  6700,  520  k. 

471.  Similar  fragment.  Inside,  in  letters  of  the  same  form  as 
those  of  No.  470,  Basin  {i). 

472.  Similar  fragment.  Inside,  Philologi. 

Cf.  C.I.L.  XI,  6700,  793  c,  e. 


[ 158  ] 


CLASS  IV 


Handles,  Handle  Ornaments,  and  Separately 
Modelled  Reliefs 

Moulds 

473.  (Plate  XIV).  Mould  for  a flat  handle,  of  the  usual 
“ tongue  and  crescent  ” form  (one  side  broken  away) . The  tongue 
is  adorned  with  a flower  on  a long  stem,  which  ends  in  a heart- 
shaped  ornament  and  has  a fillet  about  the  middle.  At  the  base  of 
the  tongue,  a pair  of  elaborate  volutes  mark  the  transition  to  the 
crescent,  and  beyond  them  there  was  a second,  less  elaborate  pair, 
one  of  which  is  now  missing. 

Cf.  for  similar  handles  from  silver  vases,  Mon.  Plot  5,  pi.  23, 
No.  3 (Bosco  Reale) ; Der  Hildesheimer  Silberfund,  p.  32,  fig.  11, 
and  pi.  21,  43,  44,  45;  Schreiber,  Alexandrinische  Toreutik,  pp. 
312fi.  Similar  forms  appear  on  all  the  moulds  for  making  handles 
which  Schreiber  publishes  {loc.  cit.,  pi.  1-3). 

474.  (Plate  XIV).  Mould  for  making  goat’s  heads  for  at- 
tachment. The  workmanship  is  careful,  the  beard  especially  being 
worked  out  in  symmetrical  spirals. 

Cf.  Gaz.  Arch.  1880,  pi.  33,  No.  2. 

Fragments  of  Vases 

475.  (Plate  XIX).  Fragment  of  the  rim  of  a vase,  with 
handle  attached.  The  form  of  the  handle  is  similar  to  that  of 

[ 159  ] 


ARRETINE  POTTERY 


No.  473,  except  that  the  tongue  is  shorter  and  broadens  into  two 
hornlike  projections  at  the  outer  end.  It  is  decorated  with  a club. 
Underneath,  a small  triangular  piece  served  to  afford  a better  grip 
for  the  fingers. 

Cf.  note  on  No.  473. 

476.  Fragment  of  a similar  handle.  The  tongue  is  lost,  but  the 
fragment  that  remains  shows  that  it  was  decorated  with  a club. 

477.  Part  of  a similar  handle.  The  end  of  the  tongue  is  broken 
off,  so  that  the  exact  form  is  uncertain.  The  tongue  is  decorated 
with  a flower. 

478.  Fragmentary  handle,  with  tongue,  crescent,  and  volutes, 
similar  to  Nos.  473  and  475-477.  The  tongue  is  decorated  with 
a thunderbolt  (?) , and  has  two  small  volutes  at  the  end.  Under- 
neath, a triangular  piece,  similar  to  that  of  No.  475. 

479.  Fragment  of  rim  with  handle.  At  the  lower  part  of  the 
fragment,  the  customary  egg  and  dart  and  a row  of  bosses  mark  the 
upper  edge  of  the  body  of  the  vase.  Above  this  is  the  handle, 
attached  to  the  rim.  It  consists  of  a flat  strip  of  clay  rolled  over  so 
as  to  form  a volute  with  four  grooves  on  the  outside.  Below  this, 
partially  concealing  the  point  of  attachment,  is  a reversed  palmette, 
with  volutes  at  the  side. 

480.  Similar  fragment,  with  a handle  of  the  same  sort  attached. 

481.  Fragment  of  a handle.  Only  a small  part,  a flat  strip  of 
clay,  divided  into  three  bands  by  vertical  grooves,  is  preserved. 
Attached  to  this  a handle  ornament  exactly  like  those  of  Nos.  479 
and  480. 

482.  Fragment  of  vase  with  handle.  The  handle  is  a plastic 

[ 160  ] 


ARRETINE  POTTERY 


ring,  divided  into  three  parts  by  grooves,  and  attached  to  the  rim 
of  the  vase  throughout  its  length.  Below,  a reversed  palmette, 
exactly  like  those  of  Nos.  479-481. 

483.  Fragment  of  vase  with  handle.  The  handle  is  a ring, 
divided  into  four  bands  by  three  grooves,  attached  to  the  rim  of  the 
vase  for  about  one-quarter  of  its  length. 

484.  Small  handle — simply  a loop  of  clay  divided  into  two 
bands  by  a groove  down  the  middle,  and  decorated  with  a plastic 
rosette. 

485.  Fragment  of  a similar,  but  much  larger  handle.  Only  the 
lower  part  of  the  loop  is  preserved.  It  was  decorated  on  the  out- 
side by  a pattern  made  up  of  rings  and  volutes.  Beneath  it,  at 
the  point  where  it  joined  the  vase,  a spur-shaped  piece  served  to 
give  a better  grip  for  the  fingers.  This  is  attached  to  a flat,  trian- 
gular piece,  with  an  S -shaped  ornament  on  each  side,  which  covers 
the  jimcture  of  the  handle  with  the  body  of  the  vase. 

486.  Small  fragment  of  a similar  handle,  showing  a similar 
decoration  with  rings  and  volutes. 

487.  More  than  half  of  the  rim  of  a large  vase,  with  a small, 
purely  decorative  handle  attached.  The  handle  consists  of  a strip 
of  clay,  attached  to  the  vase  at  the  center  and  at  the  ends,  each  end 
being  covered  by  a separately  made  rosette.  As  the  strip  has  prac- 
tically no  projection,  even  where  it  is  not  attached,  it  is  an  orna- 
mental, rather  than  a practical  handle. 

488.  Fragment  of  the  upper  part  of  a vase  with  handle  attached. 
Of  the  body,  nothing  is  preserved  but  a bit  of  the  egg  and  dart  and 
the  row  of  bosses  which  finished  off  the  principal  field.  The  rim 

[ 161  ] 


ARRETINE  POTTERY 


is  elaborate ; it  consists  of  two  concave  mouldings,  topped  by  a con- 
vex moulding  with  hatching.  The  handle  is  made  of  a loop  of  clay 
with  grooves  on  the  outside,  decorated  at  the  top  with  a plastic 
rosette  and  at  the  bottom  with  a comic  mask,  which  covers  the  pat- 
terns at  the  top  of  the  body  of  the  vase.  The  mask  has  the  wide 
mouth  characteristic  of  Roman  masks ; the  snub  nose  and  bald  head, 
and  the  grapes  or  berries  in  the  hair  mark  it  as  a mask  of  Silenus. 

Cf.  Nos.  499,  500. 

489.  Similar  fragment.  In  the  field,  a bit  of  floral  ornament. 
Above,  a tongue  pattern  and  a row  of  bosses.  In  the  upper  part 
of  the  principal  field,  covering  these  patterns,  a plastic  satyr’s  head 
has  been  applied.  Behind  it,  a fragment  of  the  handle  to  which 
it  served  as  an  ornament  can  be  seen.  The  head  is  distinctly  archa- 
istic,  with  prominent  eyes  and  schematically  arranged  hair  and 
beard. 

490.  Part  of  the  shoulder  and  neck  of  a hydria.  The  patterns 
above  the  main  field  are  partially  preserved — a tongue  pattern,  a 
row  of  bosses,  and  two  plain  mouldings.  On  the  shoulder  is  a 
plastic  satyr’s  head,  which  served  as  an  ornament  at  the  base  of  the 
handle.  On  either  side  of  the  head,  a lump  of  clay  suggests  the 
rivet  at  the  base  of  the  handle  in  metal  prototypes. 

491.  Goat’s  head,  used  as  an  ornament  at  the  base  of  a handle, 
of  which  a portion  is  preserved. 

492.  Goat’s  head  from  the  same  mould  as  No.  491,  also  used  as 
an  ornament  at  the  base  of  a handle. 

493.  Similar  goat’s  head  used  as  a handle  ornament,  but  not 
from  the  same  mould  as  Nos.  491  and  492. 

[ 162  ] 


ARRETINE  POTTERY 


494.  Plastic  bull’s  head,  from  the  base  of  a handle.  At  the  sides, 
two  attached  bosses  suggest  the  rivet  used  in  metal  prototypes. 

495.  (Plate  XIX).  Handle  ornament.  A fracture  at  the 
top  marks  the  point  where  the  handle  was  attached.  The  preserved 
portion  is  triangular  and  is  decorated  at  the  top  with  sprays  of  olive 
or  laurel,  from  which  hangs  a reversed  palmette. 

496.  A large  cross-hatched  boss  is  flanked  by  two  elongated 
bosses,  also  cross-hatched,  and  these  in  turn  have  on  each  side  a pair 
of  small  volutes.  Beyond  one  of  the  elongated  bosses  appears  an 
ornament  that  seems  to  be  an  imitation  of  a rivet.  The  whole  is 
probably  a handle  ornament  of  some  sort,  but  it  is  so  fragmentary 
that  its  exact  purpose  is  not  clear. 

497.  (Plate  XIX).  Fragment  of  the  upper  part  of  a bowl, 
decorated  with  a figure  in  high  relief.  It  represents  a young  female 
centaur  playing  the  double  flute.  She  prances  toward  the  left,  with 
head  thrown  back  and  cheeks  distended.  An  elaborate  curl  on  top 
of  the  head  marks  the  figure  as  youthful.  The  right  arm  and  two 
of  the  legs  are  very  badly  drawn,  but  the  whole  has  a dash  and 
spirit  which  points  to  a good  model.  Below,  underneath  a project- 
ing moulding,  a row  of  bosses  and  a tongue  pattern. 

498.  (Plate  XIX).  Upper  part  of  a bowl,  decorated  with 
the  figure  of  a female  flute  player,  seated  on  a rock.  She  is  dressed 
in  chiton  and  himation.  The  flute  is  a double  one.  Below,  mould- 
ing with  very  slight  hatching. 

499.  Fragment  of  the  upper  part  of  a vase.  The  rim  is  deco- 
rated with  a Silenus  mask,  similar  to  that  on  the  lower  part  of 
the  handle  of  No.  488,  and  apparently  from  the  same  mould. 

[ 163  ] 


ARRETINE  POTTERY 


500.  Part  of  the  rim  of  a bowl,  with  a plastic  Silenus  mask  of 
the  same  form  as  those  of  Nos.  488  and  499. 

501.  (Plate  XIX).  Similar  mask,  but  not  from  the  same 
mould.  The  fragment  to  which  it  is  attached  is  small,  but  the  curva- 
ture suggests  that  it  came  from  the  rim  of  a howl. 

502.  (Plate  XIX).  Similar  fragment.  Of  the  principal  field, 
a little  of  the  tongue  pattern  and  the  row  of  bosses  at  the  top  are 
preserved.  The  rim  is  decorated  with  a plastic  Silenus  head,  dis- 
tinguished from  other  similar  heads  in  the  Collection  by  being  in 
profile.  The  head  is  modelled  with  considerable  care,  so  as  to  em- 
phasize the  baldness  of  the  Silenus  and  his  pointed  ears. 

503.  Similar  fragment.  On  the  body  of  the  bowl,  between  a 
fragmentary  pointed  staff  with  spirals  and  an  indeterminate  object, 
M.  Peren{ni).  Above  this,  a row  of  bosses.  On  the  rim  is  a 
plastic  mask  of  Tragedy,  characterized  by  the  open  mouth  and 
melancholy  expression.  The  hair  is  bound  with  fillets,  which  fall 
on  either  side  of  the  neck. 

For  the  inscription,  cf.  C.I.L.  XI,  6700,  4>35f, 

504.  Similar  fragment.  The  lip  is  decorated  with  a plastic 
human  head,  with  a fillet  tied  about  the  hair. 

505.  (Plate  XIX).  Similar  fragment.  Of  the  principal  deco- 
ration, the  end  of  a branch  is  preserved.  Above  this,  an  egg  and 
dart,  a row  of  bosses,  and  a moulding  with  vertical  hatching  finish 
off  the  principal  field.  Over  these  and  partially  covering  them  are 
two  dolphins  with  tails  intertwined.  The  lip  is  decorated  with 
vertical  hatching  between  two  plain  mouldings. 

Cf.  No.  278  and  Fabroni,  pi.  6,  No.  5. 

[ 164  ] 


ARRETINE  POTTERY 


506.  Small  fragment  of  rim  with  a plastic  group  of  two  ser- 
pents, similar  to  that  on  No.  335,  but  not  from  the  same  mould. 

Cf.  Nos.  276,  335,  and  Fabroni,  pi.  6,  No.  1. 

507.  Part  of  the  rim  of  a large  bowl,  decorated  with  mould- 
ings and  three  attached  rosettes. 


[ 165  ] 


CLASS  V 


Miscellaneous  Pieces 
Fragments  of  Moulds 

508-510.  Three  fragments  of  upper  parts  of  moulds,  exhibiting 
bits  of  naturalistic  festoons,  similar  to  those  of  Nos.  305  and  306, 
used  as  decorative  patterns  at  the  top  of  the  principal  field. 

511-519.  Nine  fragments  of  upper  parts  of  moulds,  showing 
the  usual  conventional  patterns.  In  some  cases,  a small  part  of  the 
design  in  the  main  field  is  preserved,  but  not  enough  to  determine 
its  nature  exactly. 

520-530.  Eleven  fragments  of  lower  parts  of  moulds,  decorated 
with  conventional  foliage  and  patterns. 

531-535.  Five  small  fragments  of  moulds,  so  badly  broken  and 
rubbed  that  the  design  cannot  be  made  out. 

Fragments  of  Vases 

536.  (Plate  XIX).  In  the  principal  field,  a twisted  piUar 
with  a capital  divided  into  three  parts,  supports  a helmet.  This 
has  a high  crest  on  a twisted  support,  and  from  the  crest  depends 
a conventional  laurel  leaf  pattern.  Above,  egg  and  dart,  row  of 
bosses,  and  a hatched  moulding. 

537-546.  Ten  small  fragments  from  the  bodies  of  vases,  so  badly 
broken  or  rubbed  that  the  design  cannot  be  determined. 

[ 166  ] 


ARRETINE  POTTERY 


547-581.  Thirty-five  fragments  of  upper  parts  of  vases.  In 
some  cases  they  are  plain,  except  for  the  customary  mouldings;  in 
others,  they  contain  parts  of  the  ordinary  patterns  at  the  upper  edge 
of  the  body  of  the  vase;  and  in  others,  bits  of  the  decoration  of  the 
principal  field  appear.  But  in  no  case  is  enough  preserved  to  show 
clearly  the  nature  of  the  subject. 

582-587.  Six  fragments  of  lower  parts  of  vases.  One  is  a small 
round  foot,  plain  except  for  mouldings,  the  others  contain  frag- 
ments of  conventional  leaves  and  patterns  such  as  are  common  in 
the  lower  fields  of  bowls  and  similar  vases. 

Here  also  may  be  placed : 

588.  More  than  half  of  a large  heavy  mould.  The  design  is  a 
child’s  face  in  front  view.  The  size  is  shown  by  the  fact  that  it 
measures  10  cm.  from  forehead  to  chin.  As  this  is  too  large  for 
any  vase,  it  seems  probable  that  the  mould  was  used  for  making 
oscfila  or  attachments  for  decorative  plaques.  The  workmanship 
is  not  very  careful,  the  features  being  rather  roughly  indicated,  the 
hair  represented  by  a few  heavy  roUs  above  the  forehead  and  at  the 
sides  of  the  face. 

589.  Fragment  of  a similar  mould.  The  design  is  a broad  band 
of  conventional  palm  (?)  leaves  between  two  curving  mouldings. 
Probably  this  was  a mould  for  a large  chaplet  to  be  placed  on  a 
mural  relief. 


[ 167  ] 


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' ■■  ■ PLATES  : rfx:,u'Vi 


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1 


PLATE  1 


17 


PLATE  II 


17 


53 


PLATE  HI 


53 


76 


PLATZ  IV 


76 


i 


125 


PLAT  E V 


125 


PLATE  VI 


136 


PLATE  VII 


223 


PLATE  VIII 


305 

306 


PLAT  e:  jx 


PLATE  X 


80 

82 

81 

87 

86 

88 

90 

85 

91 

PLATE  XI 


129 

138 


126 

143 


137 

139 


4 1 


I 


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* ■' '.  ‘^.  . ’•. ' ’■'»<  ■■  .,  » > ’; . ■ . •.' 


>lAW-'Vi 


•i  1^  4 W . 


PLATE  XH 


\bJ 

218 

207 


217 

224 

159 


PLATE  XIII 


227 

228 


242 


237 

225 

239 


230 

241 

243 


PLATE  XIV 


309 

352 

341 

353 

365 

366 

368 

473 

474 

PLATE  XV 


92 

160 


351 

349 


PLAT  E XVI 


PLATE  XVII 


193 


184 


PLATE  XVIII 


PLATE  XIX 


197 

211 

212 

213 

214 

249 

252 

278 

497 

498 

501 

502 

Alb 

495 

305 

536 

PLATE  XX 


220 


246 


209 


265 


221 


247 


248 


266 


PLAT  EL  XXI 


131 

274 

318 


PLATE  XXH 


267 


279 


276 


325 


335 


320 


382 


PLATE  XXIll 


385 


423 


395 


384 


425 


426 


427 


THE  LAURENTIAN  PRESS 
358  FIFTH  AVENUE 
NEW  YORK 


